Author: letterv13

As US clocks are wound back to standard time, the show moves from the twilight hours to nighttime, when music stimulates the imagination more than it might in daylight. To mark that seasonal transition, varied musical impressions and evocations of the night.

7-9 p.m. EST
2200-0000 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Johann Joseph Fux: Concerto in D major
(“The Gentleness and Bitterness of the Night”)
Freiburg Baroque Orchestra/Gottfried von der Goltz
(Carus)

Mozart: Serenade in C minor, K. 388 (“Nachtmusik”)
Sabine Meyer Wind Ensemble
(Warner Classics)

Louis Moreau Gottschalk: “Symphonie romantique: a Night in the Tropics”
Hot Springs Music Festival Symphony Orchestra/Richard Rosenberg
(Naxos)

Debussy: Nocturnes
Cleveland Orchestra & Chorus/Pierre Boulez
(Deutsche Grammophon)

Schoenberg: “Verklärte Nacht” (“Transfigured Night”)
Amsterdam Sinfonietta/Candida Thompson
(Channel Classics)

Dvořák: “Rusalka” – “O Silver Moon”
Renée Fleming, soprano
London Symphony Orchestra/Georg Solti
(Decca)

Pianist Yuja Wang recently detoured from playing big music in big venues – remember her Rachmaninoff marathon in January at Carnegie Hall? – to present a solo program, of music ranging from Bach to Boulez, at “Bigger and Closer,” an exhibition of works by the British artist David Hockney, in which images of his paintings are projected onto the walls of the King’s Cross Lightroom in London.

Music critics were admitted to the show on condition that they not review what was described as an experimental performance. Among those admitted was Norman Lebrecht, the veteran classical critic/reporter/gadfly, who has broken the no-review pledge because “I felt that what I was witnessing . . . might actually be the future of concerts for the rest of the century.”

Writing in the UK magazine The Critic, Lebrecht reports that the audience’s “[c]oncentration was intense and, since no word was printed about the music, each successive piece was greeted with an audible gasp of curiosity, appreciation or perplexity,” the latter perhaps provoked by “two-cam video of Yuja’s hands on the keyboards, legs on the pedals. Her presence was projected in this way as part of the artwork but, rather than distracting from Hockney or the music she played, it enhanced them both with further associations.”

Wang’s experiment “harnesses visual technology to play music in three dimensions for all five senses,” Lebrecht writes. “We have reached a point in the performing arts where concerts are half-deserted while art shows sell out years in advance. Fuse them and see what happens.”

http://thecritic.co.uk/issues/november-2023/have-i-seen-the-future-of-music/

Music-making in visual-art spaces is not new – museum concerts have been staged for more than a century. Music made to complement visual art is not new; examples range from Modest Mussorgsky’s “Pictures at an Exhibition” (1874) to Morton Feldman’s “Rothko Chapel” (1971). Collaborations between visual artists and musicians, from album covers to multimedia shows, are also old news.

Wang’s production was something else. According to Lebrecht, the pianist, after seeing the exhibition, “decided that Hockney could be even more effective with music” and assembled a playlist for it. Hockney apparently was not consulted or otherwise involved. Have the two ever met? What might he think of images of her playing projected onto images of his paintings?

Instead of a collaboration, this was more like an appreciation, or maybe akin to a critique by analogy rather than technical appraisal, a common practice among critics writing for non-specialist readers. The analogies in this case were couched not in words but in sounds. Wang responded to Hockney’s images with music, most of it by composers who died long before the artist was born.

Did Lebrecht witness “the future” of the classical recital? A future, perhaps, promising only if musicians are competent curators, demonstrating a real appreciation of the art they mean to reflect in sound.

I’m reminded of an old saw about my trade: “Writing about music is like dancing about architecture.” In today’s no-limits cultural climate, I’m sure there are dances about architecture; but do they do justice to the two very different art forms?

I discussed the relationships (or not) of music and other art forms in a 2006 article for New Music Box:

The Impossible Case of Seeing Music

Classical performances in and around Richmond, with selected events elsewhere in Virginia and the Washington area. Program information, provided by presenters, is updated as details become available. Adult ticket prices are listed; senior, student/youth, military, group and other discounts may be offered. Service fees may be added.

Contact presenters or venues for health and safety protocols.

Nov. 1 (7:30 p.m.)
Nov. 3 (7:30 p.m.)
Nov. 5 (2 p.m.)
Nov. 11 (7 p.m.)
Nov. 13 (7 p.m.)
Kennedy Center Opera House, Washington
Washington National Opera
Daniela Candillari conducting
Jeanine Tesori & George Brant: “Grounded”
Emily D’Angelo (Jess)
Morris Robinson (Commander)
Frederick Ballentine (Trainer)
Joseph Dennis (Eric)
Michael Meyer, stage director
in English, English captions
$45-$299
(800) 444-1324
http://kennedy-center.org

Nov. 1 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Young Concert Artists:
Harmony Zhu, piano
Chopin: Ballade No. 4 in F minor, Op. 52
Chopin: Nocturne in C sharp minor, Op. 27, No. 1
Chopin: Sonata in B minor, Op. 58
Scriabin: Sonata No. 2 in G sharp minor, Op. 19 (“Sonata-Fantasy”)
Camille Pepin: “Iridescence-Glace”
Nikolai Kapustin: Theme and Variations, Op. 41
$20-$45
(800) 444-1324
http://kennedy-center.org

Nov. 2 (7 p.m.)
Nov. 3 (11:30 a.m.)
Nov. 4 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Gustavo Gimeno conducting
Tania León: “Pasajes”
Elgar: Cello Concerto in E minor
Camille Thomas, cello
Brahms: Symphony No. 4 in E minor
$15-$112
(800) 444-1324
http://kennedy-center.org

Nov. 3 (7:30 p.m.)
Nov. 4 (7:30 p.m.)
Nov. 5 (2:30 p.m.)
Harrison Opera House, 160 E. Virginia Beach Boulevard, Norfolk
Virginia Opera
Brandon Eldredge conducting
Rossini: “The Barber of Seville”
Markel Reed/Erik Grendahl (Figaro)
Hilary Ginther/Lauren Cook (Rosina)
Aaron Crouch/Jordan Costa (Count Almaviva)
Adelmo Guidarelli (Dr. Bartolo)
Christian Pursell (Don Basilio)
Emily Harmon (Berta)
Alexander Kapp (Fiorello/an officer)
Nora Winsler, stage director
in Italian, English captions
$21.25-$150
(866) 673-7282
http://vaopera.org

Nov. 3 (7:30 p.m.)
Paramount Theater, 215 E. Main St., Charlottesville
Waynesboro Symphony Orchestra
Peter Wilson conducting
“Symphonic Masquerade: an Evening of Specters, Spirits, and Spies”
Andrew Lloyd Webber: “Phantom of the Opera” (selections)
Franck: “Le chasseur maudit” (“The Accursed Huntsman”)
Shostakovich: “The Gadfly” Suite – Romance
Peter Wilson, violin
Mussorgsky: “Night on Bald Mountain”
Lalo Schifrin: “Mission Impossible” theme
Henry Mancini: “The Pink Panther” theme
James Horner: “The Rocketeer” (selections)
Quincy Jones: “Soul Bossa Nova”
James Bond film themes
$25-$90
(434) 979-1333
http://theparamount.net

Nov. 3 (8 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
University Singers
UVa Chamber Singers
Michael Slon directing
Virginia Glee Club
Frank Albinder directing
Virginia Women’s Chorus
KaeRenae Mitchell directing
“Family Weekend Choral Showcase”
program TBA
$10
(434) 924-3376
http://music.virginia.edu/events

Nov. 4 (2 p.m.)
Gellman Room, Richmond Public Library, First & Franklin streets
Commonwealth Concert Opera
works TBA by Wagner, Kurt Weill, Sigmund Romberg, Stephen Sondheim
readings by Kahil Gibran, J.R.R. Tolkien
free
(804) 646-7223
http://rvalibrary.org/gellman-room-concerts

Nov. 4 (3 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
Williamsburg Symphony Orchestra
Michael Butterman conducting
Cirque de la Symphonie
“Cirque de la Symphonie at the Movies”
program TBA
$55-$75
(757) 594-8752
http://fergusoncenter.org

Nov. 4 (7 p.m.)
Nov. 6 (7 p.m.)
Nov. 10 (7:30 p.m.)
Nov. 12 (2 p.m.)
Nov. 15 (7:30 p.m.)
Nov. 17 (7:30 p.m.)
Nov. 18 (7 p.m.)
Kennedy Center Opera House, Washington
Washington National Opera
Evan Rogister conducting
Gounod: “Romeo et Juliette”
Rosa Feola (Juliet)
Adam Smith (Romeo)
Justin Austin (Mercutio)
Duke Kim (Tybalt)
Hunter Enoch (Grégorio)
Simon Godwin, stage director
in French, English captions
$45-$299
(800) 444-1324
http://kennedy-center.org

Nov. 4 (8 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
Baltimore Symphony Orchestra
Rune Bergmann conducting
Mozart: Concerto No. 10 in E flat major, K. 365, for 2 pianos
Christina & Michelle Naughton, pianos
Bruckner: Symphony No. 7 in E major
$19-$95
(877) 276-1444 (Baltimore Symphony box office)
http://strathmore.org

Nov. 5 (2:30 p.m.)
River Road Church, Baptist, River & Ridge roads, Richmond
E. Carl Freeman Concert Series:
Stefan Palm, organ
program TBA
free; tickets required via http://eventbrite.com
(804) 288-1131
http://rrcb.org/e-carl-freeman-concert-series/

Nov. 5 (4 p.m.)
Ryan Recital Hall, St. Christopher’s School, 6010 Fergusson Road, Richmond
Richmond Philharmonic
Peter Wilson conducting
Mozart: “Don Giovanni” Overture
Beethoven: Symphony No. 7 in A major
Respighi: “The Pines of Rome”
free
(804) 556-1039
http://richmondphilharmonic.org

Nov. 5 (3 p.m.)
Shaftman Performance Hall, Jefferson Center, 541 Luck Ave., Roanoke
Roanoke Symphony Orchestra
David Stewart Wiley conducting
Mozart: Symphony No. 25 in G minor, K. 183
Kodály: “Dances of Galanta”
Sibelius: Violin Concerto in D minor
Akemi Takayama, violin
$34-$58
(540) 343-9127
http://rso.com

Nov. 5 (2 p.m.)
Terrace Theater, Kennedy Center, Washington
Kennedy Center Chamber Players
Mozart: String Quintet in B flat major, K. 174
Lili Boulanger: Nocturne
Boulanger: Cortège
Boulanger: “D’un matin de printemps”
Nate Heyder: “Ahead of Time”
Schumann: Piano Quintet in E flat major, Op. 44
$39
(800) 444-1324
http://kennedy-center.org

Nov. 6 (7:30 p.m.)
Terrace Theater, Kennedy Center, Washington
Christopher O’Riley, piano
Radiohead: “Airbag,” “Subterranean Homesick Alien,” “Black Star,” “Exit Music (for a film),” “All I Need,” “Glass Eyes,” “Let Down,” “True Love Waits,” “Paranoid Android” (O’Riley arrangements)
J.S. Bach: “The Well-Tempered Clavier,” Book I – preludes & fugues Nos. 1-12, BWV 846-857
$40
(800) 444-1324
http://kennedy-center.org

Nov. 8 (7:30 p.m.)
Kennedy Center Concert Hall, Washington
Choral Arts Society of Washington & orchestra
Marin Alsop conducting
Handel: “Zadok the Priest”
Walton: “Coronation Te Deum”
Britten: “Suite on English Folk Tunes”
Roxanna Panufnik: “Coronation Sanctus”
Walton: “Belshazzar’s Feast”
$15-$79
(800) 444-1324
http://kennedy-center.org

Nov. 9 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
J’Nai Bridges, mezzo-soprano
Mark Markham, piano
Brahms: “Dein blaues Auges,” Op. 59, No. 8
Brahms: “Die Mainacht,” Op. 43, No. 2
Brahms: “Von ewiger Liebe,” Op. 43, No. 1
Ravel: “Shéhérazade”
De Falla: “Siete canciones populares españolas”
John Carter: Cantata for voice & piano
$30-$50
(804) 289-8980
http://modlin.richmond.edu

Nov. 9 (7:30 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
Nov. 10 (7:30 p.m.)
Chrysler Hall, 215 St. Paul’s Boulevard, Norfolk
Virginia Symphony Orchestra
Thomas Wilkins conducting
Ravel: “Ma Mère l’Oye” (“Mother Goose”) Suite
Brahms: “Schicksalslied” (“Song of Destiny”)
Virginia Symphony Orchestra Chorus
Dvořák: Symphony No. 7 in D minor
$10-$199
(757) 892-6366
http://virginiasymphony.org

Nov. 9 (7 p.m.)
Nov. 11 (8 p.m.)
Nov. 12 (3 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Tarmo Peltokoski conducting
Wagner: “Die Meistersinger” Prelude
Bartók: Piano Concerto No. 2
Yuja Wang, piano
Sibelius: Symphony No. 1 in E minor
$19-$121
(800) 444-1324
http://kennedy-center.org

Nov. 10 (7:30 p.m.)
St. Benedict Catholic Church, 300 N. Sheppard St., Richmond
Richmond chapter, American Guild of Organists Repertoire Recital Series:
Anne Laver, organ
Buxtehude: Praeludium in C major, BuxWV 137
J.S. Bach: Chorale Partita on “O Gott, du frommer Gott,” BWV 767
Natalie Draper: “A Study in Breathing: ‘Allein zu dir, Herr Jesu Christ’ ”
Buxtehude: Cantata, “Nun freut euch, ihr Frommen,” BuxWV 80
Lauren Clay, soprano
Nerissa Thompson, mezzo-soprano
Sor María Clara del Santísimo Sacramento: “Psalm Tones for Matins” – Psalm tone and 6 versets
Buxtehude: Passacaglia in D minor, BuxWV 161
Lionel Rogg: “Partita sopra ‘Nun freut euch, lieben Christen g’mein’ ”
donation requested
(804) 254-8810
http://richmondago.org

Nov. 11 (5 p.m.)
Nov. 12 (4 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
VCU Opera
Kenneth Woods directing
“Opera on the D List, Part Deux: Scenes of Death, Deception, and Debauchery”
works TBA by Bizet, Cimarosa, Delibes, Mozart, Nicolai, Verdi
$10
(804) 828-1166
http://arts.vcu.edu/events

Nov. 11 (8 p.m.)
Nov. 12 (3 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth & Grace streets, Richmond
Richmond Symphony
Valentina Peleggi & Chia-Hsuan Lin conducting
Roxanna Panufnik: “Across the Line of Dreams”
Adolphus Hailstork: Piano Concerto No. 2 (“The Peaceable Kingdom”) (premiere)
Lara Downes, piano
William Levi Dawson: “Negro Folk Symphony”
$15-$86
(800) 514-3849 (ETIX)
http://richmondsymphony.com

Nov. 11 (7:30 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
Nov. 12 (3:30 p.m.)
Martin Luther King Jr. Performing Arts Center, Charlottesville High School, 1400 Melbourne Road
Charlottesville Symphony at the University of Virginia
Benjamin Rous & Michael Slon conducting
Beethoven: Piano Concerto No. 5 in E flat major (“Emperor”)
Arunesh Nadgir, piano
Copland: “Canticle of Freedom” – finale
Eric Whitacre: “Equus”
Jennifer Higdon: “O magnum mysterium”
Adolphus Hailstork: “I Will Lift Up Mine Eyes”
UVa University Singers
$10-$46
(434) 924-3376
http://music.virginia.edu/events

Nov. 11 (7:30 p.m.)
Nov. 12 (2 p.m.)
Center for the Arts, George Mason University, Fairfax
Virginia Opera
Brandon Eldredge conducting
Rossini: “The Barber of Seville”
Markel Reed/Erik Grendahl (Figaro)
Hilary Ginther/Lauren Cook (Rosina)
Aaron Crouch/Jordan Costa (Count Almaviva)
Adelmo Guidarelli (Dr. Bartolo)
Christian Pursell (Don Basilio)
Emily Harmon (Berta)
Alexander Kapp (Fiorello/an officer)
Nora Winsler, stage director
in Italian, English captions
$40-$110
(866) 673-7282
http://vaopera.org

Nov. 12 (6 p.m.)
St. Giles Presbyterian Church, 5200 Grove Ave., Richmond
Classical Revolution RVA:
artists TBA
11th anniversary celebration
program TBA
donation requested
(804) 282-9763 (St. Giles)
http://classicalrevolutionrva.com/events

Nov. 12 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
Terence Blanchard, trumpet, keyboards & composer
Adrienne Danrich, mezzo-soprano
Nicholas Newton, bass-baritone
Andrew F. Scott, visual artist
E-Collective
Turtle Island Quartet
Blanchard: “Fire Shut Up in My Bones” (concert version) (David Balakrishnan arrangement)
$30-$50
(804) 289-8980
http://modlin.richmond.edu

Nov. 13 (4 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
Dominic Salerni Piano Trio
Salerni: “Seven Meditations”
free
(804) 828-1166
http://arts.vcu.edu/events

Nov. 14 (7 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth & Grace streets, Richmond
Richmond Symphony Youth Orchestra Program ensembles
conductors TBA
program TBA
free
(804) 788-1212
http://richmondsymphony.com

Nov. 14 (8 p.m.)
Kennedy Center Concert Hall, Washington
Fortas Chamber Music Concerts:
Maxim Vengerov, violin
Polina Osetinskaya, piano
Clara Schumann: “3 Romances,” Op. 22
Brahms: Scherzo from “F-A-E” Sonata
Robert Schumann: Violin Sonata No. 3 in A minor
Prokofiev: “5 Melodies,” Op. 35
Prokofiev: Violin Sonata No. 2 in D major, Op. 94
$19-$99
(800) 444-1324
http://kennedy-center.org

Nov. 15 (7:30 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
VCU Symphonic Wind Ensemble & University Band
Terry Austin directing
Tabatha Easley & Jonathan Borja, flutes
Marcus Grant, trumpet
program TBA
$10
(804) 828-1166
http://arts.vcu.edu/events

Nov. 16 (6:30 p.m.)
Hardywood Park Craft Brewery, Overbrook Road at Ownby Lane, Richmond
Richmond Symphony
Chia-Hsuan Lin conducting
Bernstein: “Wonderful Town” – “The Wrong Note Rag”
Copland: “Two Pieces for String Quartet”
Stravinsky: Octet for winds
Bernstein: “Dance Suite”
William Schuman: String Quartet No. 3
Bernstein: “West Side Story” Suite
$30-$35
(800) 514-3849 (ETIX)
http://richmondsymphony.com

Nov. 16 (7 p.m.)
Nov. 18 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Ken-David Masur conducting
Olly Wilson: “Shango Memory”
Mozart: Piano Concerto No. 12 in A major, K. 414
Orion Weiss, piano
Brahms: Piano Quartet in G minor, Op. 25 (Arnold Schoenberg orchestration)
$15-$112
(800) 444-1324
http://kennedy-center.org

Nov. 17 (7:30 p.m.)
Nov. 19 (2:30 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth & Grace streets, Richmond
Virginia Opera
Brandon Eldredge conducting
Rossini: “The Barber of Seville”
Markel Reed/Erik Grendahl (Figaro)
Hilary Ginther/Lauren Cook (Rosina)
Aaron Crouch/Jordan Costa (Count Almaviva)
Adelmo Guidarelli (Dr. Bartolo)
Christian Pursell (Don Basilio)
Emily Harmon (Berta)
Alexander Kapp (Fiorello/an officer)
Nora Winsler, stage director
in Italian, English captions
$19.75-$130
(866) 673-7282
http://vaopera.org

Nov. 17 (7:30 p.m.)
Cathedral of the Sacred Heart, Laurel Street at Floyd Avenue, Richmond
Cathedral Choir
Three Notch’d Road
Daniel Sáñez conducting
Mozart: Requiem in D minor, K. 626
soloists TBA
free; tickets required via http://eventbrite.com
(804) 359-5651
http://richmondcathedral.org/concerts

Nov. 17 (7:30 p.m.)
St. Paul’s Memorial Church, 1701 University Ave., Charlottesville
UVa Chamber Singers
Parish Choir of St. Paul’s
Michael Slon directing
Deke Polifka, organ
Cecilia McDowall: “O Sing Unto the Lord”
Edgar Bainton: “And I Saw a New Heaven”
Hubert Parry: “I was Glad”
Britten: “Rejoice in the Lamb”
Slon: works TBA
organ works TBA
$15
(434) 924-3376
http://music.virginia.edu/events

Nov. 18 (7 p.m.)
First Presbyterian Church, 4602 Cary Street Road, Richmond
First Presbyterian Choir & orchestra
Jason Brown conducting
Josef Rheinberger: Organ Concerto No. 2 in G minor
Bruce Stevens, organ
works TBA by J.S. Bach, Vivaldi, Handel, Mendelssohn, René Clausen, Morten Lauridsen
Margaret Taylor Woods, soprano
Daniel Stipe, harpsichord & piano
free
(804) 358-2383
http://fpcrichmond.org

Nov. 18 (8 p.m.)
Center for the Arts, George Mason University, Fairfax
Fairfax Symphony Orchestra
Christopher Zimmerman conducting
Renée Fleming, soprano
Wagner: “Tristan und Isolde” – Prelude & “Liebestod”
Richard Strauss: “Four Last Songs”
Leoncavallo: “La Bohème” – “Musette svaria sulla bocca viva”
Puccini: “Gianni Schicchi” – “O mio babbino caro”
Meredith Willson: “The Music Man” – “Till There Was You”
Lerner & Loewe: “My Fair Lady” – “I Could Have Danced All Night”
$50-$100
(703) 993-2787
http://cfa.gmu.edu

Nov. 18 (5 p.m.)
Terrace Theater, Kennedy Center, Washington
New Orchestra of Washington
Alejandro Hernandez-Valdez conducting
Victoria Polevá: “Turn the River” (premiere)
Shostakovich: Cello Concerto No. 1 in E flat major
Benedict Kloeckner, cello
Holst: “The Planets”
Towson University Treble Voices
$30-$59
(800) 444-1324
http://kennedy-center.org

Nov. 18 (8 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
Baltimore Symphony Orchestra
Jonathon Heyward conducting
Unsuk Chin: “subito con forza”
Beethoven: Symphony No. 4 in B flat major
Brahms: Piano Concerto No. 1 in D minor
Emanuel Ax, piano
$19-$95
(877) 276-1444 (Baltimore Symphony box office)
http://strathmore.org

Nov. 19 (3:30 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
UVa Chamber Music Series:
Elizabeth Roberts, bassoon
Kelly Peral, oboe
Shelby Sender, piano
Joseph Bodin de Boismortier: Bassoon Sonata No. 2 in G major, Op. 50
Gordon Jacob: Partita for solo bassoon
James Waterson: Concertpiece (“Souvenir de Donizetti”)
Oleg Miroshnikov: Scherzo
Philipp Friedrich Boddecker: Sonata sopra (“la Monica”)
Henri Büsser: “Portuguesa,” Op. 106
William Grant Still: “Songs for Bassoon and Piano” (Alexa Still arrangement)
Anna Clyne: “Evening Light” for solo bassoon
Poulenc: Trio for piano, oboe and bassoon
$15
(434) 924-3376
http://music.virginia.edu

Nov. 19 (2 p.m.)
Kennedy Center Concert Hall, Washington
Bryn Terfel, bass-baritone
Annabel Thwaite, piano
Hannah Stone, harp
Gerald Finzi: “Let Us Garlands Bring,” Op. 18
John Thomas: “Bugeilio’r Gwenith Gwyn”
Ivor Novello: songs TBA
folk songs from Wales
Schubert: songs TBA
Jesus Guridi: “Viejo Zortzico”
other songs TBA
$19-$99
(800) 444-1324
http://kennedy-center.org

Nov. 20 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
UR Wind Ensemble
Steven Barton directing
works TBA by Rimsky-Korsakov, Berlioz, Wagner, Leroy Anderson, others
free; registration required
(804) 289-8980
http://modlin.richmond.edu

Nov. 20 (8 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
UVa Baroque Orchestra
David Sariti, violin & direction
program TBA
$10
(434) 924-3376
http://music.virginia.edu/events

Nov. 25 (8 p.m.)
Nov. 26 (3 p.m.)
Carpenter Theatre, Dominion Energy Center, Sixth & Grace streets, Richmond
Richmond Symphony Pops
Chia-Hsuan Lin conducting
Desirée Roots, vocalist
“Let It Snow!”
holiday program TBA
$10-$86
(800) 514-3849 (ETIX)
http://richmondsymphony.com

Nov. 25 (8 p.m.)
Center for the Arts, George Mason University, Fairfax
Chanticleer
“A Chanticleer Christmas”
$34-$58
(703) 993-2787
http://cfa.gmu.edu

Nov. 26 (7 p.m.)
Center for the Arts, George Mason University, Fairfax
Jeffrey Siegel, piano & speaker
“Keyboard Conversations: Festive French Fare”
Debussy: “Clair de lune”
Ravel: Sonatine
Saint-Saëns: “Danse macabre”
Poulenc: 2 novelettes
$29-$50
(703) 993-2787
http://cfa.gmu.edu

Nov. 27 (7 p.m.)
Cathedral of the Sacred Heart, Laurel Street at Floyd Avenue, Richmond
Richmond Symphony
conductor TBA
“Holiday Festival of Music”
Samuel Coleridge Taylor: “Christmas” Overture
Bob Wendel: “Classical Christmas Suite”
Vaughan Williams: “Fantasia on ‘Greensleeves’ ”
Bruckner: “Etude für das Tiefe Blech”
trad.: “Adeste fidelis”
Jeremiah Clarke: “Trumpet Voluntary”
Michael Praetorius: “In dulci jubilo”
Mozart: 3 German dances
Leon Jessel: “Parade of the Wooden Soldiers”
Leroy Anderson: “Bugler’s Holiday”
David Willcocks: sing-along carols
Quinn Mason: “Christmas Eve Festivities”
$55-$70; proceeds benefit Commonwealth Catholic Charities
(804) 359-5651
http://www.cccofva.org/tickets

Nov. 28 (7:30 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
Tuesday Evening Concerts:
Behzod Abduraimov, piano
Franck: Prélude, Fugue and Variations, Op. 18 (Harold Bauer transcription)
Dilorom Saidaminova: “The Wall of Ancient Bukhara”
Ravel: “Gaspard de la Nuit”
Florence Price: “Fantasie nègre” No. 1 in E minor
Prokofiev: “Romeo and Juliet: 10 Pieces for Piano,” Op. 75
$12-$45
(434) 924-3376
http://tecs.org

Nov. 29 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
Canadian Brass
Holiday Show
program TBA
$35-$65
(804) 289-8980
http://modlin.richmond.edu

Nov. 30 (7 p.m.)
Dec. 1 (8 p.m.)
Dec. 2 (8 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra
Dima Slobodeniouk conducting
Brahms: Piano Concerto No. 2 in B flat major
Yefim Bronfman, piano
Tchaikovsky: Symphony No. 4 in F minor
$15-$112
(800) 444-1324
http://kennedy-center.org

Nov. 30 (8 p.m.)
Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, MD
Baltimore Symphony Orchestra
Jonathon Heyward conducting
Tchaikovsky: Violin Concerto in D major
Simone Lamsma, violin
Lera Auerbach: “Icarus”
Stravinsky: “The Firebird” Suite
$19-$95
(877) 276-1444 (Baltimore Symphony box office)
http://strathmore.org

Dec. 1 (7 p.m.)
Altria Theater, Main & Laurel streets, Richmond
Richmond Symphony
Norman Huynh conducting
“Elf,” film with live orchestral accompaniment
$60-$85
(800) 514-3849 (ETIX)
http://richmondsymphony.com

Dec. 1 (7:30 p.m.)
Cathedral of the Sacred Heart, Laurel Street at Floyd Avenue, Richmond
Trio Mediaeval
program TBA
free; tickets required via http://eventbrite.com
(804) 359-5651
http://richmondcathedral.org/concerts

Dec. 1 (7:30 p.m.)
Perkinson Arts Center, 11810 Centre St., Chester
Dec. 2 (7:30 p.m.)
Ryan Recital Hall, St. Christopher’s School, 6010 Fergusson Road, Richmond
Dec. 3 (3 p.m.)
Blackwell Auditorium, Randolph-Macon College, 205 Henry St., Ashland
Richmond Symphony Brass Ensemble
Chia-Hsuan Lin conducting
“Holiday Brass”
program TBA
$20-$50
(800) 514-3849 (ETIX)
http://richmondsymphony.com

Dec. 1 (6 p.m.)
Dec. 2 (3:30 p.m.)
University Baptist Church, 1223 W. Main St., Charlottesville
Virginia Women’s Chorus
Katherine (KaeRenae) Mitchell directing
Anastasia Jellison, harp
40th annual Candlelight Concert
Britten: “A Ceremony of Carols” (selections)
Holst: “Choral Hymns from the Rig Veda”
Christmas carols TBA
$10-$25
(434) 924-3376
http://music.virginia.edu/events

Dec. 1 (7:30 p.m.)
Salem Civic Center, 1001 Roanoke Boulevard
Roanoke Symphony Pops
Roanoke Symphony Chorus
Roanoke Valley Children’s Choir
other choirs TBA
David Stewart Wiley conducting
Emme Cannon, vocalist
“Holiday Pops Spectacular”
program TBA
$32-$67
(540) 343-9127
http://rso.com

Dec. 2 (7:30 p.m.)
Chrysler Hall, 215 St. Paul’s Boulevard, Norfolk
Dec. 7 (7:30 p.m.)
Ferguson Arts Center, Christopher Newport University, Newport News
Dec. 10 (7 p.m.)
Sandler Arts Center, 201 S. Market St., Virginia Beach
Virginia Symphony Pops
Virginia Symphony Orchestra Chorus
Truetone Honeys
Joanne White & Evelyn White, flutes
Robert Shoup conducting
“Holiday Pops”
program TBA
$10-$199
(757) 892-6366
http://virginiasymphony.org

Dec. 2 (7:30 p.m.)
Dec. 3 (3:30 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
Charlottesville Symphony at the University of Virginia
UVa University Singers
Michael Slon conducting
Family Holiday Concerts
program TBA
$11-$48
(434) 924-3376
http://music.virginia.edu/events

Dec. 3 (4 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
VCU Guitar & Community Guitar Ensemble
program TBA
free
(804) 828-1166
http://arts.vcu.edu/events

Dec. 3 (5 & 8 p.m.)
Cannon Memorial Chapel, University of Richmond
UR Schola Cantorum & Women’s Chorale
Jeffrey Riehl & Timothy Drummond directing
50th annual Festival of Lessons and Carols
free; registration required
(804) 289-8980
http://modlin.richmond.edu

Dec. 3 (7 p.m.)
River Road Church, Baptist, River & Ridge roads, Richmond
River Road Chancel Choir & orchestra
Robert Gallagher conducting
Handel: “Messiah” – Advent/Christmas portion
soloists TBA
sold out; waiting list
(804) 288-1131
http://rrcb.org/e-carl-freeman-concert-series/

Dec. 4 (11 a.m.)
Cathedral of the Sacred Heart, Laurel Street at Floyd Avenue, Richmond
Three Notch’d Road
Anne Timberlake, recorders
Cameron Welke, lute & theorbo
“Sacred Harp: an English, Irish & American Christmas”
free; tickets required bia http://eventbrite.com
(804) 359-5651
http://richmondcathedral.org/concerts

Dec. 4 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
UR Chamber Ensembles
Joanne Kong directing
program TBA
free; registration required
(804) 289-8980
http://modlin.richmond.edu

Dec. 5 (8 p.m.)
Old Cabell Hall, University of Virginia, Charlottesville
University Singers
UVA Chamber Singers
Virginia Glee Club
Virginia Women’s Chorus
audience members
Michael Slon directing
“Messiah” Sing-in
$10
(434) 924-3376
http://music.virginia.edu/events

Dec. 6 (7:30 p.m.)
Camp Concert Hall, Modlin Arts Center, University of Richmond
University Symphony Orchestra
Naima Burrs conducting
Rachmaninoff: Piano Concerto No. 2 in C minor – I: Moderato
Ben Nguyen, piano
other works TBA
free; registration required
(804) 289-8980
http://modlin.richmond.edu

Dec. 6 (8 p.m.)
Vlahcevic Concert Hall, Singleton Arts Center, Virginia Commonwealth University, Park Avenue at Harrison Street, Richmond
VCU Symphony
Daniel Myssyk conducting
program TBA
$10
(804) 828-1166
http://arts.vcu.edu/events

Dec. 7 (7 p.m.)
Kennedy Center Concert Hall, Washington
National Symphony Orchestra Pops
Heritage Signature Chorale
Steven Reineke conducting
“Notes of Honor: NSO Salutes the Military”
program TBA
free; registration required
(800) 444-1324
http://kennedy-center.org

Oct. 28, St. Luke Lutheran Church

Like father, like son?

That was the implied question in the final program of this fall’s Alexander Paley Music Festival, as the pianist played works by Johann Sebastian Bach and his most gifted son, Carl Philipp Emanuel Bach.

J.S. Bach’s compositions represent the apogee of baroque musical style. C.P.E. Bach’s, while rooted in the high baroque, broke free from its formal and expressive constraints.

J.S. was devout and spent most of his maturity as a church musician in Leipzig, writing religious works for voices. C.P.E. was primarily a secular composer, working in the Berlin court of Frederick the Great and then succeeding Georg Philipp Telemann (his godfather) as Kapellmeister of the city of Hamburg; most of his music is instrumental, a lot of it in the classical forms, such as the keyboard sonata and symphony, that were evolving into their modern forms during his lifetime.

J.S. was not without humor, but wit is subliminal in most of his music. C.P.E.’s works, especially those for solo keyboard, are full of cockeyed, startling bursts of humor.

Those differences came through in Paley’s selections of music by the two Bachs – the father’s partitas No. 3 in A minor, BWV 827, and No. 1 in B flat major, BWV 825, and Fantasia in A minor, BWV 922; the son’s rondos in A minor, H. 262, and C minor, H. 284, and an encore of one of his speedy little solfeggio exercises; but the program also reflected the son’s inheritance from his father.

Paley played his piano of choice, a Blüthner from Leipzig, a very bright-sounding instrument sounding even brighter in the acoustic of the sanctuary of St. Luke Lutheran Church. That resulted in some tonal congestion in faster, more note-heavy and highly ornamented passages of father Bach’s partitas, but also brought extra impact to the dynamism and expressive twists of C.P.E.’s rondos.

Affectus, the stylized emotiveness of baroque and early classical music, is a prominent presence in these pieces, especially in the slow dances and arias of J.S. Bach’s partitas. Here, Paley played as expressively as he would in Chopin – much as he did in keyboard suites of Jean-Philippe Rameau in a 2014 festival program. The pianist’s often whipsaw energy, meanwhile, found fertile outlets in the C.P.E. Bach rondos.

On the like-father-like-son question, Paley made J.S.’s Fantasia in A minor sound like a pre-echo of C.P.E.’s Rondo in A minor. Otherwise, the composers’ differences outweighed their kinship in these performances.

Inon Barnatan, piano
James Ehnes, violin
Alisa Weilerstein, cello
Oct. 27, Modlin Arts Center, University of Richmond

The trio of classical A-listers performing at the University of Richmond’s Modlin Arts Center were introduced by Paul Brohan, the center’s executive director, as a “supergroup,” which, to listeners of a certain age and musical background, summoned memories of extended guitar noodling and 20-minute drum solos.

Highbrow supergroups are a different breed, playing under different circumstances. Pianist Inon Barnatan, violinist James Ehnes and cellist Alisa Weilerstein are all prominent solo artists, but also spend a fair amount of their time playing chamber music, especially at music festivals and in special ventures such as “Swan Song,” this touring program of late works by Franz Schubert.

Barnatan played Schubert’s Sonata in C minor, D. 958; joined Ehnes in the Fantasy in C major, D. 934; and, with Ehnes and Weilerstein, completed the program with the Piano Trio in E flat major, D. 929 – a representative sampler of the music that Schubert wrote in the last year of his short but prolifically productive life.

Their performances showed, first of all, that Barnatan is as accomplished a listener as he is a pianist. A power player in the piano sonata, a stormy work that at times sounded like a succession of thunderclaps as heard on the Hamburg Steinway acquired in 2015 by the University of Richmond’s music department, Barnatan reined in the instrument’s tone and volume in the fantasy and trio.

The fantasy for violin and piano (cellists often adapt it, too) is one of the most challenging of the late Schubert works. Its main theme, introduced at the outset and reprised in the finale, is among the composer’s most soulful melodies, but needs to sound almost austere; the inner set of variations on a more dance-like theme is a showcase of virtuosic fiddling. The piano’s role is mostly supportive, but often requires a light, feathery tone that doesn’t come naturally to a modern concert grand.

Ehnes captured both the yearning emotion and propulsive energy of the piece – all that high-speed double-stopping, in tempo and in tune, in the variations – realizing the fantasy’s contrasts and working them into a persuasive musical narrative. Barnatan’s accompaniment was both rhythmically pointed and sensitive to the tonal atmospherics of his part.

The E flat is the more compact of Schubert’s two piano trios, but still an example of the “heavenly length” that characterizes much of the composer’s late work. Its first and last movements develop their themes at length, at times obsessively and repetitively; a successful performance of the trio must turn recurrent themes and developmental busyness into a coherent musical flow. Barnatan, Ehnes and Weilerstein did so quite nicely. Weilerstein’s subtle changes of inflection and tonal weight in the final movement were especially gratifying.

A pre-Halloween show featuring favorite spooky classics, from Mussorgsky’s “Night on Bald Mountain” to Berlioz’s “Symphonie fantastique.” (French composers, you’ll notice, seem to dote on horrific weirdness.)

7-9 p.m. EDT
2300-0100 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Mussorgsky: “Night on Bald Mountain”
(original version)
London Symphony Orchestra/Claudio Abbado
(RCA)

Bernard Herrmann: “Psycho: a Narrative for Orchestra”
London Philharmonic/Bernard Hermann
(Decca)

Giuseppe Tartini: Violin Sonata in G minor (“The Devil’s Trill”)
Gil Shaham, violin
Jonathan Feldman, piano
(Deutsche Grammophon)

André Caplet: “Conte fantastique”
Lockenhaus Festival Ensemble
(ECM)

Saint-Saëns: “Danse macabre”
Maya Iwabuchi, violin
Royal Scottish National Orchestra/Neeme Järvi
(Chandos)

Berlioz: “Symphonie fantastique”
Boston Symphony Orchestra/Charles Munch
(RCA)

I am medically advised to be cautious about attending crowded public events, including Richmond Symphony concerts. The orchestra is making video streams of its mainstage Symphony Series performances available to ticket-holders. The stream of this program became accessible on Oct. 25.

Valentina Peleggi conducting
with Paul Neubauer, viola
Oct. 21-22, Carpenter Theatre, Dominion Energy Center

Nearly 80 years after his death, Béla Bartók still gives more than a few classical concertgoers a case of pre-emptive willies, thanks to his music’s tendencies toward the gnarly, with a harmonic language that sounds at times acidic, at times spacey, and rhythms that seem to go sideways or backward as often as forward.

Few if any of those descriptors apply to Bartók’s last compositions, notably his Concerto for Orchestra of 1943 and his Viola Concerto. When Bartók died of leukemia in 1945, he left the Viola Concerto in sketch form; a fully orchestrated performing version was produced by Tibor Serly, a close associate of the composer, in 1949, and several subsequent revisions have been made.

One of those revisions was produced in 1995 by Bartók’s son, Peter, and the violist Paul Neubauer, who was the soloist in the concerto with the Richmond Symphony in its latest mainstage concerts.

Neubauer, a mainstay of the Chamber Society of Lincoln Center and one of the leading US solo violists, showed his mastery of the Bartók concerto from the start, delivering a persuasive blend of fast-fingered pyrotechnics and the distinctive variety of lyricism that the composer developed from Hungarian and Roma folk music.

Neubauer’s treatment of the concerto was especially rewarding in its big central movement, which swings between a largo and scherzo, and in the work’s Hungarian-dance finale. The violist took every opportunity to lean into the work’s lyricism, as well as its demands for virtuosic fiddling.

Valentina Peleggi, the symphony’s music director, crafted supportive and nicely detailed accompaniment in the concerto. Her attention to details, and the orchestra’s realization of them, also could be heard in the program’s opening work, Richard Strauss’ tone poem “Don Juan,” and in a performance of Tchaikovsky’s Symphony No. 6 in B minor (“Pathétique”).

In both the Strauss and Tchaikovsky, illumination of the details of orchestration were the result not just of the conductor’s attention but of the orchestra’s balance of forces. With the symphony’s usual complement of strings playing alongside enlarged woodwind and brass sections, wind solos and ensembles sounded with greater than usual prominence.

Oboist Victoria Chung, flutist Jennifer Debiec Lawson, clarinetist David Lemelin, bassoonist Thomas Schneider and violinist Adrian Pintea, the orchestra’s associate concertmaster, exploited their high exposure with fine technique and sensitive mood-setting.

In the Tchaikovsky, the low strings projected with the needed combination of darkness and warmth, as did the orchestra’s French horn and trombone choirs.

The result was not the kind of lushly textured, overtly heart-on-sleeve “Pathétique” listeners may hear on their stereos; but expressiveness without excess pathos serves this music quite well.

The stream of this program remains accessible until June 30. Access: $30. Details: (800) 514-3849 (ETIX); http://richmondsymphony.com

Writing for Norman Lebrecht’s Slipped Disc blog, the veteran music critic Lawrence Vittes reviews “The Music Critic,” a play with music by Aleksey Igudesman, violinist of the classical comedy duo Igudesman and Joo. The show stars John Malkovich as a “lean and angry critic” experiencing “the transfiguring torments and ecstasies that come with the job.”

Not unlike the Schadenfreude summoned by reading Nicolas Slonimsky’s classic “Lectionary of Musical Invective,” a compendium of negative critiques of music subsequently recognized as great, “[t]here’s a peculiar satisfaction in witnessing the redemption of public humiliation at the expense of another’s perpetual shame, particularly when that person is a music critic,” Vittes writes.

He advises: “[I]f you fancy reading the critics who are most likely to miss the mark on masterpieces of the future, simply follow the publications that publish my work.”

Taking down the music critic

Reviewing a performance of “The Music Critic” at the Orpheum Theatre in Los Angeles, Vittes notes that the audience was “was rich in the kind of hip, young demographics orchestras aspire to engage; their comfort level with classical music was accompanied by an unbridled desire to revel in the fun.”

The crowd’s comfort level might have been enhanced by exposure to classical-music criticism in the major California newspapers. In much of the rest of the US, you won’t find classical reviews in the papers; so the hip and young – or the aging and average, for that matter – might not get the joke.

(Thinking back on the torments and ecstasies of my career as a critic, what comes first to mind was the time I had to review a production of Puccini’s “Madame Butterfly” in six column inches on a 15-minute deadline. To which the hip and young would say, “What’s a column inch?”)

Oct. 15, Singleton Arts Center, Virginia Commonwealth University

The Isidore Quartet, a young ensemble (formed in 2019) with an already impressive résumé – winning the 2022 Banff International String Quartet Competition, receiving a 2023 Avery Fisher Career Grant – made a memorable local debut in the latest installment of Virginia Commonwealth University’s Rennolds Chamber Concerts series.

The foursome – violinists Adrian Steele and Phoenix Avalon, violist Devin Moore and cellist Joshua McClendon – bracketed a 2012 string quartet by Billy Childs with two milestones of music’s classical period, Haydn’s Quartet in C major, Op. 20, No. 2, and Beethoven’s Quartet in A minor, Op. 132, in performances marked by intense concentration, clarity of instrumental textures and storytelling-in-sound sensibility.

Childs, best-known as a jazz pianist, is also an estimable classical composer. His Quartet No. 2 (“Awakening”) was inspired by the trauma of his wife’s hospitalization with a pulmonary embolism. The quartet evokes the panic that Childs experienced when he learned of the diagnosis and the bleak fear he endured at her bedside, concluding in what Moore calls an “ode to recovery and rediscovery” as the couple healed physically and spiritually.

The Isidore’s performance of Childs’ quartet conveyed the raw emotionality of the piece with playing of tight tonal focus, unerring timing – silences have rarely sounded as tensely pregnant – and vivid realization of internal drama bursting outward. This music could not have a more compelling interpretation than these musicians delivered.

Haydn’s six Op. 20 quartets mark the birth of the string quartet as a prime vehicle for composers, a proving ground for musical structure, harmonic exploration, expressive range and the interweaving of audibly discrete voices. Among Haydn’s many musical inventions – he also sired the piano sonata, piano trio and symphony as we know them – these quartets may be the most inventive and influential.

The Isidore’s reading of the Haydn acknowledged its musical-historical resonance without sounding didactic or over-awed by its stature. The musicians played with spontaneity, balancing quizzical playfulness with Sturm und Drang intensity, consistently giving listeners a sound-picture of one of music’s supreme innovators at his most creative.

Violinists Steele and Avalon and violist Moore adhered to the modern “historically informed” practice of playing with minimal vibrato, staying gratifyingly in tune as they did, producing unusual transparency in voicing and texture. Moore and cellist McClendon enhanced that transparency with strongly projected bass lines.

A comparably well-delineated performance of the Beethoven usefully dispelled the common notion that Beethoven blew off the periwigged classicism of “Papa Haydn,” his former teacher. In fact, the teacher’s influence was always present in Beethoven’s music, never more so than in his late string quartets.

The Isidore’s phrasing, voicing and timing in Beethoven’s Op. 132 was Haydnesque in its textural transparency and explorative quality, even as it was unmistakably Beethovenian in its potency and expressive scope.

In a neat display of context in program-making, the “Heilige Dankgesang” (“Holy Song of Thanksgiving”), the aural memoir of illness and recovery that forms the centerpiece of the Beethoven quartet, came across as a pre-echo of the resolution of Childs’ “Awakening.”

My grandfather used to say, “All wars are fought over greed or religion.” Two wars rage today: In Ukraine, over Vladimir Putin’s greed for the land of the old Russian/Soviet empire; and now in Israel, over the very existence of the Jewish state. In this program, music reflecting today’s dark Zeitgeist and evoking the civilizations that genocidal aggressors seek, and must fail, to destroy.

7-9 p.m. EDT
2300-0100 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Mendelssohn: Quartet in F minor, Op. 80
Artemis Quartet
(Erato)

Ewelina Nowicka: “Kaddish 1944”
Ewelina Nowicka, violin
Amadeus Chamber Orchestra of Polish Radio/Agnieszka Duczmal
(cpo)

Prokofiev: Sonata No. 7 in B flat major, Op. 83
Boris Giltburg, piano
(Orchid Classics)

Mahler: “Kindertotenlieder”
Alice Coote, mezzo-soprano
Netherlands Philharmonic/Marc Albrecht
(Pentatone)

Ernest Bloch: “Schelomo, a Hebrew Rhapsody”
Mischa Maisky, cello
Israel Philharmonic/Leonard Bernstein
(Deutsche Grammophon)

Valentyn Silvestrov: “Hymn”
Stuttgart Chamber Orchestra/Thomas Sanderling
(Grand Piano)