Mostly Symphonies
New and Near New in Boston
Gubaidulina’s one-movement Triple Concerto is a consummate mystery. It does not present itself as a typical concerto requiring flamboyant soloists and an obliging orchestra.
New and Near New in Boston
Gubaidulina’s one-movement Triple Concerto is a consummate mystery. It does not present itself as a typical concerto requiring flamboyant soloists and an obliging orchestra.
Mostly Symphonies 30.
In 16 intentionally disjointed tracks, with internal repetitions and drop-kicked transitions, Play.list unspools like a pocket Strauss tone poem tracked randomly.
Mostly Symphonies 30.
In 16 intentionally disjointed tracks, with internal repetitions and drop-kicked transitions, Play.list unspools like a pocket Strauss tone poem tracked randomly.
Mostly Symphonies 29: Keep Going, Keep Going… Two new Berio Sinfonias
Berio the finisher and arranger was asked to orchestrate several Mahler songs from Des Knaben Wunderhorn. Knowing Sinfonia lurks around the corner, these songs take on an innocent, even archaic quality when we know the postmodern age is just moments away.
Mostly Symphonies 29: Keep Going, Keep Going… Two new Berio Sinfonias
Berio the finisher and arranger was asked to orchestrate several Mahler songs from Des Knaben Wunderhorn. Knowing Sinfonia lurks around the corner, these songs take on an innocent, even archaic quality when we know the postmodern age is just moments away.
Mostly Symphonies 28: Untangling Schnittke
For a full 48 minutes, there’s nothing ambiguous here, nothing that suggests its composer could command many styles and would with apparent frivolity combine them in the same work.
Mostly Symphonies 28: Untangling Schnittke
For a full 48 minutes, there’s nothing ambiguous here, nothing that suggests its composer could command many styles and would with apparent frivolity combine them in the same work.
Mostly Symphonies 27.
I’ve previously expressed impatience with Mahler’s First, however, this release bucks the trend doubly. First, this 2004 live performance is bright and energetic. Second, perhaps because this is a Hungarian effort and the symphony’s five-movement incarnation originally premiered in Budapest, Kocsis restores the Blumine movement.
Mostly Symphonies 27.
I’ve previously expressed impatience with Mahler’s First, however, this release bucks the trend doubly. First, this 2004 live performance is bright and energetic. Second, perhaps because this is a Hungarian effort and the symphony’s five-movement incarnation originally premiered in Budapest, Kocsis restores the Blumine movement.
Mostly Symphonies 26.
Babbitt’s All Set is a snazzy twelve-tone piece for jazz ensemble. Were it scored for a Pierrot ensemble it might seem bone dry, and if a jazz combo were provided atonal charts, this wouldn’t be the result. Regardless, I can’t help but listen and grin throughout.
Mostly Symphonies 26.
Babbitt’s All Set is a snazzy twelve-tone piece for jazz ensemble. Were it scored for a Pierrot ensemble it might seem bone dry, and if a jazz combo were provided atonal charts, this wouldn’t be the result. Regardless, I can’t help but listen and grin throughout.
Mostly Symphonies 25.
Until recently, Cerha’s Spiegel was easier to see than to hear.
Mostly Symphonies 25.
Until recently, Cerha’s Spiegel was easier to see than to hear.
Mostly Symphonies 24: Schnittke’s Ten
BIS rebundles a most idiosyncratic and essential symphonic cycle.
Mostly Symphonies 24: Schnittke’s Ten
BIS rebundles a most idiosyncratic and essential symphonic cycle.
Mostly Symphonies 23.
Presumably Russians have an emotional view into the symphony that Shostakovich began composing during the siege of Leningrad. Compared to his earlier recording, Gergiev is mellower, with the Mariinsky sounding warmer and more sensitive.
Mostly Symphonies 23.
Presumably Russians have an emotional view into the symphony that Shostakovich began composing during the siege of Leningrad. Compared to his earlier recording, Gergiev is mellower, with the Mariinsky sounding warmer and more sensitive.
Mostly Symphonies 22.
Intended as a response to Brahms’ four, this symphony could be the primordial soup from which Hamburg’s greatest son emerged.
Mostly Symphonies 22.
Intended as a response to Brahms’ four, this symphony could be the primordial soup from which Hamburg’s greatest son emerged.
Mostly Symphonies 21.
Salonen’s 20-minute Nyx churns quickly, but the less frequently recorded Dutilleux sticks in the mind.
Mostly Symphonies 21.
Salonen’s 20-minute Nyx churns quickly, but the less frequently recorded Dutilleux sticks in the mind.
Mostly Symphonies 20.
Exuberant performances propel charming, uncomplicated music. Look beyond the Ruslan and Lyudmila Overture and hear why later compatriots heralded Glinka as Russian music’s father.
Mostly Symphonies 20.
Exuberant performances propel charming, uncomplicated music. Look beyond the Ruslan and Lyudmila Overture and hear why later compatriots heralded Glinka as Russian music’s father.