Ethelbert Nevin, a retired technical draftsman, resides in a quiet New England backwater. Currently translating a novel about Continental pinsetters, Nevin longs for the days when music didn’t try to please everybody.
This Dmitri animated by Barnes isn’t the Shostakovich whose music I know.
A modest perplexing explosion as a small, nervous troupe gives life to various French texts while playing.
Hahn’s effervescent pieces stand agreeably between frivolity and pretension.
In 1908 Mahler (48) made his Metropolitan Opera debut in New York with Wagner’s Tristan und Isolde (Jan. 1), wrote Das Lied von der Erde, and premiered his Seventh in Prague (Sep. 19).
A sparkling, often virtuosic collection of Romantic and early-Modern sea pieces.
A lonely story lurks within 12 sections, perhaps Sephardic, Moravian or older, with nods to jazz, Gertrude Stein and Joaquín Rodrigo.
A group wedding that ends badly for all. Salieri’s early French success stems from Gluck’s influence.
Classical Spohr penned the first Nonet, light and lively, although Romantic Onslow’s has grandeur.
The Viennese Cartellieri emerges distinctly as a bridge between Mozart and Beethoven.