Sony Classical
Composer Anna Clyne’s collection of works for mostly solo instruments offers enormous musical satisfaction; pianist Isata Kanneh-Mason knows how to craft an enticing program and advocate for it.
The best items in this all-Mozart album are the concertos.
A trio of reviews of recordings that include sadly neglected pieces by Dvořák, pianist Mitsuko Uchida’s phenomenal Diabelli Variations, and a haunting, arresting round-up of new music by the Departure Duo.
A major release by a pianist who, just in his mid-thirties, is already one of the most intelligent and satisfying musicians on the circuit.
Each month, our arts critics — music, book, theater, dance, and visual arts — fire off a few brief reviews.
Taken together, the selections on Attacca Quartet’s latest release is something of a meditation on the human condition.
The VPO’s performance doesn’t want for energy or purpose because of the lack of a crowd. Rather, there seems to be an internal imperative to the ensemble’s music-making that isn’t always apparent at these events.
Uri Caine’s score about the life and murder of a 19th-century civil rights icon is direct and potent; touching documentation of Richard Pittman’s advocacy for the inventive composer Bernard Hoffer and a demonstration of the sheer musical excellence of Boston Musica Viva; Igor Levit’s keyboard playing is dynamic, precisely articulated, vividly felt, and beautifully voiced.
Evaluations of a smorgasbord of Beethoven symphony recordings.
Arguably, the strongest entry in the BSO’s complete Shostakovich symphony cycle thus far; Esa-Pekka Salonen’s 2016 Cello Concerto is emotionally direct and, at times, simply gorgeous; the resurgence of interest in the music of Boston-educated composer Florence Price is a good thing.
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