Recent News
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
New York Philharmonic String Quartet , Yefim Bronfman
Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier
Sir Andrew Davis
ELGAR The Music Makers. The Spirit of England (Davis)
Chanticleer Christmas concert, 11/30/18
Ward Stare
Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune
Richard Kaufman
Broadway World
Twyla Tharp Dance
Dreaming of Dancing With Twyla Tharp
Next Avenue
Twyla Tharp Dance
‘Minimalism and Me’ Review: Twyla Tharp Tells Her Story
Wall Street Journal
Vienna Boys Choir
Audiences get whirlwind musical tour as Vienna Boys' Choir performs at Ent Center
Colorado Springs Gazette
Thomas E. Bauer
Intense Mahler and Schubert from Thomas E. Bauer in Auckland

News archive »

CD reviews: SLSO team makes a convincing case for 'Scheherazade.2'

David Robertson
St Louis Post-Dispatch

Violence against women is no modern tragedy. Composer John Adams found that out when he saw an exhibition about the tales of the Arabian Nights — ancient stories in which Scheherazade tells her murderous husband a new tantalizing tale each night for 1001 nights, thus sparing her life a day at a time. The composer, writing in Scheherazade. 2's booklet notes, says he was surprised by how many of the stories included women suffering brutality. 
Borrowing a formula from Hector Berlioz (with a nod to Scherherazade, Rimsky-Korsakov's popular symphonic suite), Adams created a "dramatic symphony," casting the violin as a modern-day Scheherazade — the smart woman who remains fearless in the face of cruelty. Over the course of four movements, no precise narrative is spelled out, yet Adams' descriptive titles and his cinematic music go a long way in unfolding a potent drama, masterfully illuminated by conductor David Robertson and the St. Louis Symphony Orchestra.
 It begins with a strum of harp strings, the whoosh of winds and the clatter of a cimbalom (hammered dulcimer), as if a brightly colored curtain is swept back, inviting listeners inside. Here, we meet Scheherazade in the form of violinist Leila Josefowicz, a longtime Adams collaborator and courageous champion of new music, who gives a searing performance. She arrives with handsome, sinuous lines but later speaks in spikier gestures. In its lyrical moments, backed by Adams' lush orchestration, the music recalls Samuel Barber's beloved Violin Concerto.
The vibrant pulsations that open the second movement, "A Long Desire (Love Scene)," give way to a dreamy oasis of floating strings and flickering winds. Scheherazade enters sweet and high as the music grows more impassioned. Her winding, sensual song, one of the work's highlights, is backed by a delicate scrim of strings."Scheherazade And The Men With Beards," the disruptive third movement, finds our heroine trading arguments with a council of agitated strings, chattering winds and percussion. Her entreaties are mellifluous and articulate, but the opposition overpowers her with snarling brass and thunderous drums.