Violinist Inmo Yang and pianist Sahun Hong offered diverse works for violin and piano at the Gardner this afternoon, sandwiching examples by three relatively unknown composers the stalwart sonatas of Beethoven and Schubert.    [continued]

Andris Nelsons’s BSO concerts this week pair Grieg’s Piano Concerto in A Minor (1868), Leif Ove Andsnes, soloist, with  Mahler’s Fourth Symphony featuring the radiant soprano Genia Kühmeier. “No music on earth can compare with ours.”    [continued]

President Dwight D. Eisenhower’s Executive Order 10450, condemning “sexual perversion,” which purged an estimated  1,200 federal employees accused of homosexual activity from the government in what is now known as the “lavender scare,” formed the backdrop  of Gregory Spears’s Fellow Travelers. I attended the Boston debut yesterday. BLO’s run continues through Sunday and the Paramount Center.    [continued]

The Terezin Music Foundation’s annual gala concert at Symphony Hall helped keep alive the memory and music of artists interned at the “model concentration camp.”    [continued]

How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.

The dynamic performer, insightful voice teacher, and brilliant operatic interpreter ranged from Monteverdi to Brel, touching countless lives with his singing gifts and distinctive ability to teach his craft to others. His friends and colleagues will commemorate Richard Conrad in words and song at the Eliot Church of Newton, 474 Centre Street in Newton Corner, on Saturday, November 16th at 7:00.

Ralph Vaughan Williams’s Serenade to Music, his paean to 16 of his favorite singers, will highlight musical selections from Schumann, Rossini, Sullivan, Bellini, Mozart, Giuseppe Verdi, Weill, Gershwin, and Henry Bishop from a great number of musicians from his circle. [continued…]

Thalea String Quartet’s “trans-Atlantic encounters, ” with composers blending European modes of expression with American modes, appealed to first-time listeners as well as seasoned aficionados at the Gardner Sunday.    [continued]

Jamie Kirsch and Lisa Graham led 241 singers and players of Chorus pro Musica and Metropolitan Chorale in little-known Kodály, Janáček, and Mendelssohn at Jordan Hall last night for quite the choral feast.    [continued]

With a French first half and a Russian second, Boston Symphony Orchestra’s Thursday concert under Andris Nelsons,wowed with Mitsuko Uchida in the Ravel Concerto, a Betsy Jolas premiere, and a Shostakovich symphony.    [continued]

Pulitzer Prize winning composer, eminent Bostonian elder statesman, and celebrated pianist Yehudi Wyner will be playing his Concert Duo for Violin and Piano with violinist Daniel Stepner at the 14th-Annual Scholarship Benefit Concert for the Aston Magna/Brandeis Unaccompaied Bach Workshop at the Brandeis University Slosberg Music Center, Sunday, November 10 at 3pm. Founded in 1972 by Lee Elman and Albert Fuller, the Aston Magna Festival (Daniel Stepner, Artistic Director) is the oldest annual summer festival in America devoted to music performed on period instruments.

Wyner received us in his studio, through a garden of asters, among musical scores, books, photographs and memories.  

Anne Davenport and Leon Golub: The relationship of a composer to his own work is a bit mysterious. A couple of weeks ago, you felt prompted to re-commune personally with your 14-minute piano solo Refrain of 2011. Did you uncover intentions, nuances or details that had remained latent to you when composing it? How transparent is a work to the composer from the start?

YW: That’s a profound question. The process of going back and really learning how to play it as I think it should be played was an arduous one. I had to work really hard to master a lot of the accuracy and technical detail, especially in the fast parts. In doing that, I really, I must say, I found myself feeling more and more convinced of its legitimacy and rightness. The other thing I discovered is that there were all kinds of small emendations, edits, revisions, details, notes here and there, a phrase here and there — but not much. [continued…]

The Belgian period vocal ensemble Vox Luminis brought its North American tour to a close on Saturday with “The Bach Dynasty,” a set of less-familiar music by members of J.S. Bach’s family, plus a concluding cantata by Johann Sebastian himself, for the Boston Early Music Festival at First Church, Congregational on Saturday.    [continued]

OK, Anne, you need to come clean. Boston Camerata’s November 8th Americana concert and CD celebration at Faneuil Hall seems to have a strange French accent on its Harmonia Mundi label. Do I detect foreign collusion?

Anne Azéma: (laughs) It’s certainly significant that there is so much interest abroad in a collection of very old American broadside ballads, fife and drum tunes, and patriotic calls to resistance of autocratic rulers. When we performed “Free America” at the invitation of Strasbourg, Boston’s sister city, three weeks ago, there wasn’t an empty seat to be seen in the Palais de la Musique et des Congrès. And the audience, including plenty of younger people, joined in loudly on the saucy refrain to “Yankee Doodle.”

I think that here at home we underestimate to what extent people in other countries celebrate and cherish that lofty “American Dream.” Right now people want to know if it still exists. Are we still n exceptional a role model for other lands? When we sing American songs of resistance and rebellion to a foreign audience, we are sending a message of reassurance about our beliefs in our homeland. Strasbourg is Boston’s sister city, thanks in large part to Charles Munch, and we continue to share something mutually important with its citizens.

Will you be singing and protesting about current events the way patriots have for two centuries at Faneuil Hall?

Well, yes and no. These beautiful, historical musical works make direct references to events that took place centuries ago, in Boston, New England, and elsewhere, roughly from the battle of Bunker Hill to the Abolitionist movement. What is amazing, however, is the constancy of certain themes or leitmotifs throughout our American history. Our forebears resisted, with all their being, tyranny and arbitrary abuse of power. So many of them struggled for inclusion and for racial justice – “All kindred, all colors…no nation or sect are rejected at all,” as the Shakers were singing, circa 1840. Americans were deeply allergic to the interference of foreign powers into our affairs, as Thomas Paine’s brilliant song text, “Liberty Tree,” underscores. And they constantly reaffirmed their birthright to freedom: “So guard your rights, Americans,” as the title song to the program exhorts us. [continued…]

My musical odyssey to the Huntington Avenue Theater last night led me to the apparent North American premiere of Maria, Regina d’Inghilterra (Mary, Queen of England) by Giovanni Pacini (1796-1867), a prolific and once-famous composer not one of whose notes I had heard before in any genre. Repeats Sunday at 2:00.    [continued]

Back in February 2018, we got a “Leipzig Week in Boston” at Symphony Hall in recognition of the fact that the Boston Symphony Orchestra and the Leipzig Gewandhaus Orchestra now share the same music director, Andris Nelsons. This past Tuesday, to a packed house, Nelsons led the GHO in the Leipzig-relatated Mahler’s Blumine, the Schumann Cello Concerto, with Gautier Capuçon, the Overture to Wagner’s Der fliegende Holländer, and Mendelssohn’s Symphony No. 3 (Scottish).    [continued]

Lidiya Yankovskaya

MassOpera’s concert performance of  Dan Shore’s opera Freedom Ride, presented in collaboration with the Chicago Opera Theater (COT) this Sunday at 3:00 at the Strand Theater in Dorchester, sets the show in motion for its staged premiere production in February. Freedom Ride tells the story of one young black woman’s decision to join the civil rights movement as a freedom rider. COT Music Director Lidiya Yankovskaya will conduct an orchestra of 26, and NAACP Award-winner Tazewell Thompson will direct.

MassOpera’s cast includes Alicia Russell, Imani Francis, Fred C. VanNess, Ron Williams, Steven D. Myles, and Melynda Davis. General admission tickets of $20, are available through MassOpera.

Lidiya Yankovskaya, conductor for both MassOpera’s New Opera Workshop performance and the premiere of Freedom Ride with Chicago Opera Theater, sat down to interview composer, Dan Shore about the creation of his opera.

LY: Dan—I’ve known about Freedom Ride for about 5 years, but the opera has been in development for a long time. Could you speak about how this project came to be? [continued…]

Blue Heron’s “The Sweet Sound of Medieval Song” taught how to listen to medieval polyphony with young and old ears at Brandeis University’s Berlin Chapel yesterday as part of an symposium among theorists, scribes, scholars, and performers.    [continued]