Music in Eight Parts is a welcome and inviting addition to the Philip Glass canon; the Summer of Thomas Adès continues with a stirring new recording of the British composer’s keyboard work; Anna Clyne’s Dance is, without a doubt, one of the finest pieces I’ve heard this year.
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.
Semyon Bychkov and the Czech Philharmonic do justice to a lot of Tchaikovsky’s orchestral music, while John Eliot Gardiner and the London Symphony play Robert Schumann’s famously-dense orchestrations with clarity. But Michael Stern’s account of The Planets completely lacks mystery.
The BSO recently announced an extension to artistic partner Thomas Adès’s contract. It is lucky to have him. So are the rest of us.
Pianist Kirill Gerstein’s take on Busoni is exhilarating; the Finnish Radio Symphony Orchestra serves the forceful music of composer Bernd Alois Zimmermann, and violinist Elina Vähälä does right by Szymanowski’s Violin Concerto.
The San Francisco Symphony delivers performances of chamber-like sensitivity and remarkable transparency.
In the Piano Concerto, Ferruccio Busoni seemed to want to have the final word in the tradition of the Romantic concerto.
Lara Downes’ America Again is a great album, and one with multiple layers of meaning.
The BSO’s Americana concert could only provide four beautiful snapshots of a very complicated landscape.
With “In Seven Days,” Thomas Adés seems to have developed a musical language that’s complex yet not forbidding: there’s no sense that his music is weighed down by expectations of the past, even as he freely refers to archaic compositional forms.