436 stories by "Jonathan Blumhofer"
Celebrating Longy's rich past has been a big part of the school's focus these past months.
Three superb albums: two focusing on works by Brahms, one featuring Hans Abrahamsen's meditation on Shakespeare's Ophelia.
Ghosts seems to be trying to be all things to all listeners -- edgy, nostalgic, farcical, adventuresome.
The Rasas are but the latest in a series of remarkable scores John Harbison has been turning out over his eighth decade.
There's an apparent level of trust between the BSO and its leader, best demonstrated by the spirited excellence of the orchestra's playing of late.
Michael Harnoncourt's final recording gives us the conductor at his best. Bernard Haitink helmed a truly great BSO performance of Mahler's Symphony no. 1.
Fort Worth Symphony Orchestra's heart is in the right place with the ensemble consistently erring on the right (far) side of caution.
It's no secret that 2016 has already been a strong year for albums featuring new and recent music: now things get even better.
Working within the forms perfected by Haydn and Mozart, Beethoven early compositions managed to say some things that remain compelling to hear.
Saturday's performance revealed the BSO to be at the top of its collective game, totally locked in, and fully responsive to Andris Nelsons' leading.
Sunday's concert was highlighted by the world premiere of Bernard Hoffer's ballet after Longfellow's Paul Revere's Ride.
On the whole, 2016-17 is shaping up to be one of the liveliest Boston Symphony Orchestra seasons since the first years of James Levine's tenure.
So, is the "Gaelic" Symphony an unalloyed masterpiece? I'd argue in the affirmative.
Javier Perianes proved himself one of the elite pianists of our day, playing with such deep, inward focus.
Violinist Patricia Kopatchinskaja and conductor Teodor Currentzis are two of the most interesting figures in classical music today.
Surely the time has come for a major revival of Night Ride and Sunrise.
Christopher Rouse is a tough composer to pin down and that stylistic unpredictability has, in part, provided his music notable expressive breadth.
Felix Mendelssohn remains one of the West's most underrated composers.
Elgar's brilliant scoring in his Symphony no. 1 was front and center, in this performance not an end in itself but serving clearly expressive goals.
Nobody, these days, plays the music of the Strauss family better than the Vienna Philharmonic Orchestra.
The big news was the well-deserved Grammy for best orchestral performance that the BSO and current music director Andris Nelsons won .
The BSO's Shakespeare festival has proven to be the most satisfying extended endeavor yet of Andris Nelsons' directorship.
The English horn, of course, is no stranger to haunting melodies.
Everyone on stage seemed to sense that this was a special occasion and the BSO, accordingly, played with an extra jolt of electricity.
This season's three-week commemoration of the 400th anniversary of Shakespeare's death " the first such thematic series of Andris Nelsons' BSO directorship " go off to a compelling start.
