Deutsche Grammophon
George Li’s latest release showcases a budding artist with a growing command of musical structure, technique, and character; Bruce Liu’s got the measure of Erik Satie’s music — next time, perhaps, he can take on more of it.
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Some solidly impressive Mozart — aside from the filler, fifteen minutes of mono-dynamic, schlocky medleys.
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The final installment in the Boston Symphony Orchestra’ s Shostakovich symphonies series is not nearly as overwhelming as its kick-off disc.
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Reviews of Hélène Grimaud’s latest homage to Clara Schumann and La Tempête investigates seeming stylistic overlaps in the music of J. S. Bach, Henryk Górecki, Jehan Alain, Knut Nystedt, and John Adams.
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Even if this isn’t the most interpretively satisfying of Daniel Barenboim’s traversals through this repertoire, it is a deeply revealing one that draws on a lifetime of experience with this music.
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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.
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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.
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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.
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Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
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This is an all-English album whose strongest moments are mighty and who’s most intriguing piece is a revelation.
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