CoCo's players used a minimum of overt embellishment, always effective and appropriate, as if they felt that nothing more was needed than the printed notes.
We take a glimpse into the lives of Barnabás Kelemen and Katalin Kokas, to whom lockdown has brought a newborn son, a newly reformed string quartet and the challenge of a full Bartók cycle for Bartók Spring International Arts Weeks.
Woody's Suite for String Orchestra adroitly transformed charming songs by the 18th-century writer, politician and abolitionist Charles Ignatius Sancho into Baroque dances.
Stravinsky came off more like a distillation of Mozartian than Bachian abstraction and the musicians responded with glee to the music's circus atmosphere.
The performance recalled Jos van Immerseel's remark that Beethoven’s music sounds less modern on the instruments of our time than it does on those of the early 19th century.
Even when JUNK started doing weird things, it was a great treat to watch the mighty Philadelphia Orchestra play Shchedrin 's score for only the third time in its history.
Hosted by the roguish Italian clarinet virtuoso, a wonderful live-streamed concert turned into a brilliant entertainment experience that could be a model for concerts online – and live.
There was a delicious chocolate-colored texture to the low bass akin to what Great British Bake-Off aficionados would recognize as the foundation of a great Sachertorte.
One of those performances when the sheer physical beauty of the instruments and the sounds they were making became the organic nature of the music itself.
Brinton Averil Smith, the Symphony's principal cello, approached Haydn's D major Concerto with bold courage and passionate, if inconsistently manufactured, strokes.
Intrada's concert on the Great Feast Day of Orthodox Christmas featured first performances of music by Peter the Great's favorite composer Vasily Titov in more than 300 years.
