Thrilling Adams and Mahler from Michael Tilson Thomas and the San Francisco Symphony

Born in Argentina to Eastern European Jewish parents, composer Osvaldo Golijov certainly brings many cultural influences to the musical table, influences that shone through in the three works of his performed at Zankel Hall on Monday night.

People want to be in love and to live forever. That is not how things work out. Haydn explores this contradiction in his string quartets. What makes each quartet different is how Haydn resolves musically the way things do work out.

Inspiration for a composition can come in many forms; a letter from Clara Schumann, the brutality of Stalin's police, growing deaf or hearing birdsong. The final concert of John Adams’ short residency at the Barbican focused on a more reverent strain of influence, however: the peculiar tendency for living composers to want to reference dead ones.

Bravo to Michael Tilson Thomas and the San Francisco Symphony for blowing the dust off of some of the boldest innovators America has produced. As part of a mini-festival at Carnegie Hall of 20th- and 21st-century composers who stretched musical and formal boundaries (to put it mildly), the program on Tuesday night was packed with rarely-played wonders.

Never hold back – this would serve well as a motto for the St. Lawrence String Quartet. The quartet has been concertizing for over two decades and has seen two member changes, but the intensity and bravery with which they approach music-making has not waned in the slightest.

Michael Tilson Thomas steht seit Jahrzehnten wieder am Pult des BRSO, mit dem „Monument der amerikanischen Symphonik”, Coplands Dritter Symphonie.