Thomas Ades
NDR Radiophilharmonie and Stanislav Kochanovsky may generate new fans for Tchaikovsky’s four orchestral suites; if you only want to dip your toes in Thomas Adès’ extraordinary music, his own take makes for a worthy introduction.
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
If Andris Nelsons’s direction revealed one thing, it’s that violinist Anne-Sophie Mutter and composer Thomas Adès make a stellar musical pairing.
Conductor and composer Thomas Adès brought more of his intriguing music to Symphony Hall this weekend with two selections from his recent ballet, The Dante Project.
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.
Seiji Ozawa’s Symphony no. 7 and Leonore Overture no. 3 offers a memorable blend of color, atmosphere, purpose, and soul; François-Xavier Roth and Les Siècles serve up a satisfactory, period-instrument Symphony no. 5; Thomas Adès’ take on Beethoven is concentrated and energetic, if a bit impersonal.
Evaluations of a smorgasbord of Beethoven symphony recordings.
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.
Thomas Adès is a formidable pianist and his output for his native instrument is fundamentally gripping; yMusic’s new album is a spectacularly-played and -recorded disc; Michael Gordon’s Anonymous Man is undeniably hypnotic but gets stuck in a loop that goes on for a mite too long.
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.
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