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Still, the moral should be to err in favor of the audacious. That’s what this world – and this art form – require.
For a composer who hails from Finland but found his spiritual home in Southern California, Esa-Pekka Salonen’s is a singular musical voice.
Composer Charles Villiers Stanford's best traits were formidable indeed.
Henry Cowell’s was an important, if now often forgotten, voice in 20th-century music.
Composer Florence Price’s lack of acceptance into the American canon is shameful.
That neglect, though, is our loss. The Altenberg-Lieder feature Alban Berg at his most direct and concise, as well as his most sumptuous.
The BLO's production was one of the troupe's true staging triumphs of late, transforming the Steriti Ice Rink into a 1950s-style nightclub.
Andrew Manze and the RLPO have turned in one of the year’s great albums: potent, lyrical, haunting, and timely.
Two recommended discs: James Brawn's complete Beethoven piano sonata series continues while Simone Dinnerstein and A Far Cry execute Philip Glass’s chorale-like writing with remarkable fer…
George Szell’s Reign is ultimately an accessible, often sociable, but sometimes perplexing fan’s history of the Orchestra and its storied music director.
Variations and fugues are the overriding themes of pianist/composer Michael Brown’s captivating new album. If you’re an Andris Nelsons fan, this Deutsche Grammophon album won’t disappo…
The Birringer Duo's disc is a terrific, engaging release, The Colin Currie Group’s performance is nothing short of a powerhouse, and pianist Liza Stepanova plays with lots of character and…
Peter Oundjian and the Royal Scottish National Orchestra deliver a great album, smartly programmed and played to the hilt. Leonard Bernstein’s live Mahler was often electrifying; this perf…
New Yorker critic Alex Ross has called the LAPO the best orchestra in the country and that appellation seems about right.
A thoroughly charismatic Fairy Queen from start to finish, well-prepared, fulgently delivered, and received by a packed house with well-earned warmth.
Pianist Alexander Melnikov has come up with one of the still-young year’s most compelling discs, Deutsche Grammophon releases an aural train wreck.
Two Mahler symphonies, one sluggish the other intense, while symphonies composed by Louise Farrenc, Mozart, and Haydn are done right.
Superb discs from pianist Lars Vogt, violinist Francesca Dego, pianist Denis Kozhukhin, and violinist James Ehnes on the viola.
The BSO seems to have taken to heart complaints about its lack of programming diversity, devoting two full programs to underrepresented groups.
It is, clearly, a crafty Beethoven remix and the ways John Adams assimilates the older composer’s language into his latest style are fascinating.
Kalinnikov’s First Symphony is one of those neglected works well worth beating a drum for.
This symphony is the finest synthesis of Leonard Bernstein’s considerable theatrical instincts within a concert framework, idiosyncratic and singular.
Charles Ives continues to stand, after 140-plus years, as the ultimate American Composer.
Pražák Quartet's Smetana is keeper, Sir Simon Rattle's Haydn is a loser, and Lindberg's "On the Waterfront" is a knockout.
Violinist Michael Barenboim is an exceptional young musician with a famous name who stands on his own two feet.
Musically, everything clicked in Boston Musica Viva's annual Family Concert.
Throughout the night, CpM music director Jamie Kirsch kept tempos lively and never lost sight of the overarching shape of each of the evening’s big pieces.
Max Bruch's music is smart, strong, crafty, and, often, quite endearing.
From a compositional standpoint, too, Chamber Dance is an example of Tower at her engaging best.
The deeply personal nature of the music’s narrative drew some extraordinary music from Liszt’s pen.
This weekend’s concert fires on all cylinders. Don’t miss it.