With Hildegard of Bingen’s morality play, Ordo virtutum, Cappella Clausura riveted this writer at St. Paul’s Church in Brookline on Sunday afternoon      [continued]

Sonic Liberation Players appeared at the New School of Music in Cambridge Saturday evening in “Ecstasy/Enstasy.” On SLP’s minds were “climate emergency” and those experiences arising from the opposite of ecstasy. The coinage “enstacy” has us thinking about meditative states and that is where SLP remained for the hour.    [continued]

Mozart and Haydn well-suited the Boston Symphony Orchestra’s “Casual Friday” series, where audiences can read interactive program notes on their cell phones during the performance and gather for a bar reception following the short and intermission-less show.    [continued]

Steven Osborne and Paul Lewis regaled distinctive nods to youth from Fauré, Debussy, Stravinsky and Ravel on behalf of the Celebrity Series of Boston last night at Jordan Hall.    [continued]

Pianist Jihye Chang, a passionate champion of new music, offered a rich and varied if too brief evening of 14 contemporary women composers at BoCo’s Seully Hall last night.    [continued]

Boston Philharmonic’s theme of geographic connectivity among Kodály, Liszt, and Dvořák  resulted in a concert at Sanders last night significantly more interesting than a Trip Advisor’s excursion. The concert repeats at Jordan Hall on Saturday and Sanders on Sunday.    [continued]

Under Matthew Guard’s knowing direction at Church of the Redeemer on Saturday, Skylark’s collaboration with professional storyteller Sarah Walker and interstitial-composer Benedict Sheehan took a promising step toward establishing a new type of choral programming.    [continued]

The well-known fortepianist led H + H from the keyboard in Beethoven’s Third Piano Concerto, Mozart’s A Major Rondo, K.385, and Symphony No. 36, K.425, along with the H + H premiere of Carl Philipp Emanuel Bach’s Symphony in C Major at Jordan Hall on Friday.    [continued]

The Pacifica Quartet and its frequent cellist collaborator Johannes Moser explored an extra dimension to the harmonic richness in their Schubert-themed performance at the Gardner.    [continued]

Guest artists, pianist Benjamin Hochman and cellist Nicholas Canellakis, joined BCMS regulars Jennifer Frautschi and Marcus Thompson, seamlessly communicating and interacteing while conveying layers of unsuspected depth at Sanders yesterday.    [continued]

Longy celebrated Valentines Day with Neave’s polished trios of Beach, Heffter, Rachmaninoff, and Piazzolla.    [continued]

“One of the biggest pianistic talents to have emerged in this country in the last 25 years,” according to the Baltimore Sun, Terrence Wilson delivered an exciting and nuanced concert at the Gardner Sunday.    [continued]

On Saturday evening at MIT’s Kresge Auditorium in Cambridge, I had the joy of listening to Johnny Gandelsman play the six unaccompanied cello suites by Bach on the violin.    [continued]

Matt Palmer’s guitar swept through  First Lutheran Church of Boston like a mighty rushing wind during his February 8^th appearance for the Boston Classical Guitar Society. artist series. Aside from the Bach Chaconne, he focused primarily on offerings by living composers.    [continued]

Barbara Strozzi’s work featured in mezzo-soprano Sophie Michaux thoroughly satisfying recital with Benjamin Katz, harpsichord, and Paul Holmes Morton, theorbo, at the Cathedral Church of St. Paul on Friday.    [continued]

Chameleon Up Close Concert at Mary Norton Hall at Old South Church) found Chameleon’s intrepid leader and flutist Deborah Boldin, the esteemed violist Scott Woolweaver, and the marvelous harpist Franziska Huhn in great form.    [continued]

Parisians Debussy, Poulenc, Berlioz and newer comer Jean-Pierre Armanet sounded by way of pianist Paulius Pancekauskas, clarinetist Milos Bjelica, and soprano Laura McHugh at Ballets Russe Arts Initiatives’ festive “Paris via Boston” at the French Cultural Center Friday.    [continued]

Jordi Savall brought Hespèrion XXI and La Capella Reial de Catalunya to Sanders Friday for “Splendor of the Iberian Baroque…”. On-stage hugging and kissing and salutes to both sides of the balcony concluded the apparently sold-out concert.    [continued]

The Boston Modern Orchestra Project and Odyssey Opera gave the world premiere performance of The Chronicle of Nine by the late Arnold Rosner at Jordan Hall on Saturday. If it achieved less than a complete success, we can still thank Gil Rose and those who worked with him, for bringing forth an intriguing and totally unknown opera.    [continued]

Lucas and Arthur Jussen are extending the once-popular 19^th-century domestic duet genre into a highly rewarding 21^st-century package, both musically and theatrically. The young Dutch sibs can’t help that they look angelic; their faces and entire stage manner conveyed immersion and heavenly inspiration at the Gardner on Sunday.    [continued]

For offbeat Hindemith, a full-length chamber piece by an obscure Swiss composer, and a string quartet by someone who became famous only when he stopped writing string quartets, A Far Cry drew a full house to St. John’s in JP Saturday night.    [continued]

Harvard College Opera’s all-student run of Mozart’s Die Zauberflöte continues on February 2^nd, 7^th 8^th, and 9^th.    [continued]

The amazing Joseph Lin honored the 300^th-anniversary of J. S. Bach’s six sonatas and partitas for violin solo by playing them all in a single evening’s span with but a 20-minute intermission at Jordan Hall on Friday; he delivered with superb taste and crystalline musicality    [continued]

Continuing with his miniature homecoming of sorts, Andris Nelsons joined with global star Yefim Bronfman in an endarkened Mozart C Minor Piano Concerto last night. The BSO also tackled orchestral treasures of Bartók and Ravel, all entries well-loved by Symphony Hall audiences.    [continued]

Tuesday night’s BSO subscription concert deliverd a journey of tragedy (Shostakovich’s against the Soviet system), artistic warmth (as regarded in the Allgemeine musikalische Zeitung in 1809) and the lamenting hope of Dvořák’s New World.    [continued]