Recent News
12.07.18
JoAnn Falletta, Mariss Jansons, David Alan Miller, Peter Oundjian, Patrick Summers, Alexandre Tharaud, Magos Herrera & Brooklyn Rider , Mason Bates, Symphonieorchester des Bayerischen Rundfunks, Munich , Academy of St Martin in the Fields , Les Violons du Roy , Anthony Roth Costanzo, Nathan Gunn
2019 Grammy Nominees
Grammy Awards
12.07.18
New York Philharmonic String Quartet , Yefim Bronfman
Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier
12.06.18
Julian Wachner
This Is the Best ‘Messiah’ in New York
The New York Times
12.04.18
Sir Andrew Davis
ELGAR The Music Makers. The Spirit of England (Davis)
Gramophone
12.03.18
Chanticleer
Chanticleer Christmas concert, 11/30/18
Divamensch
12.01.18
Ward Stare
Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune
11.27.18
Richard Kaufman
PHANTOM OF THE OPERA HAUNTS THE SOROYA IN REAL TIME
Broadway World
11.26.18
Twyla Tharp Dance
Dreaming of Dancing With Twyla Tharp
Next Avenue
11.19.18
Twyla Tharp Dance
‘Minimalism and Me’ Review: Twyla Tharp Tells Her Story
Wall Street Journal
11.19.18
Vienna Boys Choir
Audiences get whirlwind musical tour as Vienna Boys' Choir performs at Ent Center
Colorado Springs Gazette

News archive »

CD reviews: Tetzlaff takes on Czech masters; Seattle’s Dutilleux

04.29.16
The Washington Post

The excellent Seattle Symphony is working through at least the third recorded cycle of the complete orchestral works of the French master Henri Dutilleux (1916-2013). Each of these two releases offers one symphony and one concerto, and one includes “Métaboles,” probably his most performed work. (Still to come is “Timbres, espace, movement,” commissioned and premiered by Rostropovich and the National Symphony Orchestra.)

Dutilleux’s music creates a meticulous, jewel-like sound world, typical of many French composers. The harmonic language is a hybrid of octatonic scales and atonality, but there are clear levels of dissonance and consonance. One hears wisps of Stravinsky and Messiaen, but the rhetoric and architecture are from an even earlier time. Themes are strongly characterized, particularly through rhythm and texture. The long narrative paragraphs and clearly recurring motifs intertwine and pullulate, drawing the ear and interest along.
 
In short, this music feeds the souls of the world’s great artists and gives pleasure if one takes the time to really feel the language.
 
These in-house Seattle recordings are impressive, handled by the producer and engineer Dmitriy Lipay. Some are pieced together from live performances; others were studio efforts. The sound picture is clean and detailed, and the mix doesn’t feel gimmicky. As for Morlot and the orchestra, they rise to the many challenges of the music, playing with real commitment, a wide dynamic range and expressive force in the lyrical passages. The scherzo from the first symphony is a wow moment, the strings careening on a knife-edge but perfectly together.
 
Read the rest of the review here