Daniil Trifonov’s Silver Age pays bracing tribute to fin-de-siecle and post-Revolutionary Russian music; Jonathan Leshnoff’s Third Symphony is smartly-written and affecting. What happens when tenors Lawrence Brownlee and Michael Spyres team up for an album of duets and ensembles from various Rossini operas? Fireworks.
Nothing to recommend in Daniel Lozakovich’s take on the Beethoven Violin Concerto, but Midori’s performance of the piece is completely unpretentious, natural, and exciting. Gidon Kremer & friends serve up a terrifically flexible version of Carl Reinecke’s adaptation of Beethoven’s Triple Concerto.
Composer Anna Clyne’s new disc displays her maturity as a composer and brilliance as an orchestrator; pianist Simone Dinnerstein builds a number of bridges between Philip Glass and Franz Schubert; pianist Hélène Grimaud’s interesting program is marred by some uneven Mozart.
Terrific performances, blazing with color, character, and wonderful technique from Neeme Järvi and the Royal Scottish National Orchestra; John Williams and the Vienna Philharmonic Orchestra offer considerable pleasure with some misteps; another triumphant release from Gil Rose and the BMOP.
Three new discs do right by Beethoven’s chamber music.
Discs dedicated to overlooked composers Harold Shapero and Peter Lieberson are well worth your attention. Gustavo Dudamel and the Los Angeles Philharmonic Orchestra don’t do well by Charles Ives’ final symphony, but the three preceding symphonies fare better.
A round-up of fresh performances of Beethoven Concerti.
A terrific release showcases the Boston Symphony Orchestra and composer Thomas Adès. Michael Tilson Thomas and the San Francisco Symphony deliver a radiantly honest recording of Aaron Copland’s Symphony 3.
To Paradise for Onions is a lovely album; Cincinnati Symphony Orchestra ‘s Transatlantic is spirited; Yannick Nézet-Séguin’s Die Zauberflöte is lost in the crowd.
Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.