The Boston Musical Intelligencer
Many people today lament the decline of musical culture and understanding. In a small way, we aim to change that with our online virtual journal and blog. If you've ever searched the Boston Globe or the now-defunct Boston Phoenix calendars for concert recommendations or reviews, you likely share our concerns. While the coverage in these publications is commendable, it simply doesn't cover enough ground. Due to constraints like staffing and available space, less than 10 percent of concerts in the area receive reviews, and fewer than half are even listed. The Boston Musical Intelligencer seeks to address this gap by providing a comprehensive list of every classical music concert happening in greater Boston (within Route 128) during the regular season. In the summer, we broaden our focus to include venues across New England. We also strive to review as many concerts as possible, particularly those that our editors feel have been overlooked by traditional media. Our reviewers include some of Boston's top musicians, composers, music scholars, and knowledgeable listeners. All reviews and articles undergo professional editing before they are published. We also encourage reader engagement through our moderated comment section, which allows for open discussion.
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Articles
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5 days ago |
classical-scene.com | Lee Eiseman
A Far Cry violist Caitlin Lynch curated “Eclipse” as a response to how works can drop into the shadows of neglect during certain periods, only to emerge from undeserved eclipses when planets realign or a when a clever curator points the light back on them. Last night’s Jordan Hall concert invited us to ponder how long three revivals, ranging from poetically intense to divinely silly, and one brilliant new work (sharing the concert title), could earn or regain places on the concert stage.
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1 week ago |
classical-scene.com | Jeffrey Gantz
Andris Nelsons and the Boston Symphony Orchestra finished the 2024–2025 season with two of Shostakovich’s greatest works, Violin Concerto No. 1 and Symphony No. 8. It might have seemed an odd program for May, since these are also two of Shostakovich’s grimmest works.
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1 week ago |
classical-scene.com | Lee Eiseman
Under Benjamin Zander’s lapel-grabbing leadership, the Boston Philharmonic Youth Orchestra has, for 13 years, been operating on such an exalted plane, that a critic can safely leave his stopwatch and research scriblings at home and allow himself to absorb the vivid, energetic, sonorous, heartfelt work of deeply committed young players in one of the world’s greatest temples of art.
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2 weeks ago |
classical-scene.com | Bettina A. Norton
Back in 1818, a little-known Swiss composer, Hans Georg Naegeli (1773–1836), wrote of Johann Sebastian Bach’s Mass in B Minor, “It is the greatest music work of art of all ages and of all people.” With this quote, Christoph Wolff, retired professor of music at Harvard University and world-wide expert on Bach, began his talk at Emmanuel Church last Sunday for this coming Saturday evening’s much-anticipated performance of the Mass by Emmanuel Music. Details HERE.
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3 weeks ago |
classical-scene.com | Jeffrey Gantz
Benjamin Zander and the Boston Philharmonic Orchestra first played Gustav Mahler’s Symphony No. 2, the “Resurrection,” in 1982. In the 43 years since then, it is, I would guess, the piece Zander has programmed most often. He recorded it with the Philharmonia of London in 2012. He last did it with the BPO in 2017, and with the Boston Philharmonic Youth Orchestra in 2023.
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