Pentatone
Wow. Stewart Goodyear can play Prokofiev. The Czech Philharmonic and Tomás Netopil are compelling advocates, playing Dvořák with plenty of rhythmic zest and tonal warmth.
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Not all of Atlanta Symphony Orchestra conductor Nathalie Stutzmann’s ideas about Dvorak’s Ninth Symphony add up, but there is not much to argue with in Czech Philharmonic Orchestra director Semyon Bychkov’s take on Dvorak’s Seventh, Eighth, and Ninth Symphonies.
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This album fills out Michael Tilson Thomas’s compositional catalogue, deepening our appreciation of it. More fundamentally, it adds meaningfully to the story of American concert music.
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The performance of John Adams’s “City Noir” is swift and characterful, though sometimes pushed perhaps a bit too hard for its own good. The rendition of Leonard Bernstein’s “Serenade” is clear but a bit too safe.
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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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Ultimately, then, we’ve got something special here: a fresh take on some canonic works by a conductor and soloist whose bread-and-butter is this very fare.
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Quatuor Diotima evince a thorough command of György Ligeti’s style, as well as a breathtaking grasp of the demands he makes on the instruments.
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Quatuor Diotima evince a thorough command of György Ligeti’s style, as well as a breathtaking grasp of the demands he makes on the instruments.
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I feel that I have lost a dear friend whom I met through profoundly heartfelt recordings and, in the form of interviews, inspiring self-portraits.
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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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