Ondine
Neeme Järvi, true to his usual form, favors brisk tempos, which tend to keep things from getting bogged down in Wilhelm Furtwängler’s bog of a Symphony No.2; Nicholas Collon leads a stupendous recording of Sibelius’s Symphony No. 5.
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Conductor Robert Treviño celebrates what we might call the dawning of the North American vernacular school; composer Ethan Iverson displays a fascination with instrumental color.
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The Emerson String Quartet concludes its recorded legacy pretty much the way it began it — in musical glory. Robert Trevino and the Orchestra Sinfonica Nazionale della RAI’s Respighi has plenty of spirit and heart.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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As the composer moves from youth to middle age, Thomas Adès is unique among his contemporaries for his singular embrace of melody, harmony, and form.
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Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
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Some substantial works by composer Felix Mendelssohn remain overlooked.
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A terrific album, commandingly played, that adds to our knowledge and appreciation of this too-long neglected repertoire.
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Taken together, these four pieces showcase a composer whose handling of the orchestra is expert and whose sense of form, in these works at least, feels unerringly right.
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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.
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Arts Remembrance: In Memoriam — Tom Stoppard