Johann Sebastian Bach’s B Minor Mass, performed at Symphony Hall on Friday (March 23) and again on Sunday (March 25), was delivered in impressive Baroque style by the Handel+Haydn Society orchestra and chorus.
The Brahms Scherzo Op. 4 opens with a delicate and playful theme, then carries us along on waves of emotion swinging from the filigree, to the lyrical, the thunderous, and back to the delicate.
Perhaps enough time has passed since the death of the famous French pedagogue Nadia Boulanger to step back and question her musical sainthood. After all, she was only human.
A new “electronic opera” from Ireland, “Heresy”, broke new ground in contemporary opera a couple of years ago, bringing together Irish vocal talent and the synthesized music of much-decorated composer Roger Doyle.
Elegant, poised and deeply musical Ran Jia has brought a new freshness to the Franz Schubert piano sonatas, a phenomenal achievement considering how often they have been performed by the greatest pianists of the past 75 years.
American expat pianist David Lively found happiness in Paris as a teen-aged piano prodigy and got so busy performing and studying -- with an Alfred Cortot associate -- that he ended up making his life in France, a different planet culturally, he says, compared to that of his native land.
When young French pianist François Dumont appeared at the Salle Gaveau in Paris recently, the critics embraced him without reserve. One wrote that his recital confirmed his place in the family of the best musicians in France.
Nearly two hours of Debussys solo piano music at one sitting can be, for some, too much impressionistic color to digest. And indeed a woman beside me fell asleep during the twelve Préludes, Book One.
If I were to help a new listener grapple with Charles Ivess Piano Sonata No. 2, Concord, Mass., 1840-1860, I would share my story of first seeing the scores opening page.