Bold and colorful by turns, this disc offers an ideal introduction to Hans Rott, a composer who has slowly surfaced from the dark corners of history.
This is a release that showcases many of Andris Nelsons’ strengths, including his strong sensitivity for instrumental colors, blends, and balances. At the same time, it also demonstrates the conductor’s hit-or-miss nature with the core repertoire.
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.