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Dec 15, 2024 | 
classicstoday.com | David Vernier
Exclusive music reviews and news, created specifically for classical music listeners, from the serious collector to the inquisitive newcomer. This is not a fancy, high-gloss “e-zine,” but rather a simple, straightforward newsletter-style section of our website designed for ease of reading and packing the maximum amount of useful information into each issue.
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Dec 15, 2024 | 
classicstoday.com | David Vernier
The reason to buy this set is for the Magnificat, the original but rarely recorded E-flat version from 1723, which certainly gets its most exciting and likely most enduring performance on disc, an agreeable combination of first-rate soloists, matchless choral singing, and unassailable playing from Philippe Herreweghe’s period-instrument band.
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Dec 15, 2024 | 
classicstoday.com | David Vernier
If you are a lover of Christmas music—carols, popular songs, and all manner of medleys and clever arrangements of such—and you miss this extraordinary recording by the first-rate Dallas Wind Symphony, then your holiday listening stands to be just a bit more dull, less festive, and more ordinary than it could have been.
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Sep 29, 2024 | 
classicstoday.com | David Hurwitz |David Vernier
Exclusive music reviews and news, created specifically for classical music listeners, from the serious collector to the inquisitive newcomer. This is not a fancy, high-gloss “e-zine,” but rather a simple, straightforward newsletter-style section of our website designed for ease of reading and packing the maximum amount of useful information into each issue.
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Aug 25, 2024 | 
classicstoday.com | David Hurwitz |David Vernier
Exclusive music reviews and news, created specifically for classical music listeners, from the serious collector to the inquisitive newcomer. This is not a fancy, high-gloss “e-zine,” but rather a simple, straightforward newsletter-style section of our website designed for ease of reading and packing the maximum amount of useful information into each issue.
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Aug 18, 2024 | 
classicstoday.com | David Hurwitz |David Vernier
Stephen Paulus was a successful, prolific, and much-revered American composer acclaimed for his work in all the major genres, particularly opera, orchestral, and choral; his death last year (2014) at age 65 from complications of a stroke was noted and lamented around the world, and especially in the music community in Minnesota where he lived most of his life.
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Aug 18, 2024 | 
classicstoday.com | David Hurwitz |David Vernier
Exclusive music reviews and news, created specifically for classical music listeners, from the serious collector to the inquisitive newcomer. This is not a fancy, high-gloss “e-zine,” but rather a simple, straightforward newsletter-style section of our website designed for ease of reading and packing the maximum amount of useful information into each issue.
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Aug 18, 2024 | 
classicstoday.com | David Hurwitz |David Vernier
In her personal comments included in this disc’s liner notes, violinist Rachel Barton Pine laments the fact that, although they used to be concert staples of great virtuosos of the past, “Veracini’s wonderful sonatas are no longer performed by today’s modern concert violinists.” This is certainly sad and undeniably true, but in defense of this music’s worthiness she also makes a claim that at first, and especially to the uninitiated, seems extremely bold: that these sonatas “exemplify the...
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Aug 11, 2024 | 
classicstoday.com | David Hurwitz |David Vernier
Exclusive music reviews and news, created specifically for classical music listeners, from the serious collector to the inquisitive newcomer. This is not a fancy, high-gloss “e-zine,” but rather a simple, straightforward newsletter-style section of our website designed for ease of reading and packing the maximum amount of useful information into each issue.
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Aug 4, 2024 | 
classicstoday.com | David Hurwitz |David Vernier
Your opinion about this new set of Bach cello suites from Mischa Maisky will depend on how much Maisky you prefer with your Bach. Or, to put it another way, how amenable you are to the trend toward increasing assertiveness by performers in pushing the limits of notation and style. Now this can be a good thing, except when it appears to have no musical or artistic purpose, or when it misrepresents the score so severely that we are presented with virtually a different composition.
