Florence Price’s voice and the richness and complexity of an almost-entirely neglected body of symphonic music by Black American composers can be heard in this excellent recording.
Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
This is an all-English album whose strongest moments are mighty and who’s most intriguing piece is a revelation.
Interpretively, this installment in the BSO’s cycle of Dmitri Shostakovich’s fifteen symphonies is occasionally (and a bit surprisingly) spotty.
Fiddler Daniel Hope’s new all-Schnittke disc with pianist Alexey Botvinov brings with it a level of authority that demands respect.
Violinist Hilary Hahn’s blend of musical curiosity, expressive savvy, and technical excellence doesn’t often appear in one person.
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.