From the very first notes of the Schoenberg Klavierstücke, one is aware of the fact that Iman is an artist and not just a technician. His phrasing and subtle use of dynamics mold and shape this music in ways I’ve never quite heard before. There is a certain “curvelinear” feel to his phrasing that attracts the listener, despite the fact that this is already 12-tone Schoenberg. In addition, his piano is recorded perfectly, giving his sound great clarity with just enough natural reverb around the instrument to not make it sound like an echo chamber. By binding the chords and phrases of Schoenberg’s music, Iman almost makes it sound more pentatonic than atonal—one might say, a cousin to Scriabin. I was just as delighted with the leader’s arrangements of other standard tunes in this album as I was with Morning Sunrise.

• It typically implies advanced structural and theoretical considerations or

Near the end of the first movement, Bailey plays a note that is slightly “warped” in sound which gives the music an unusual feel. And clearly, by the time he wrote the Seventh Symphony for harpsichord and orchestra in 1964, Weinberg’s sadness had clearly set in. In 1949, angry at his very modern scores, Stalin had his father-in-law killed in what was made to look like an auto accident, but the composer wasn’t fooled.

His symphonies from about No. 5 onward have tremendous feeling in them, and this feeling must be brought out to make the performance work. Comparing her performance here of the Third to Thor Svedlund with the Gothenberg Symphony, for instance, one hears very similar tempi but completely different phrasing. For the most part, Svedlund leads the music in a fairly chipper manner, propelling the fast passages with great energy. Gražinytė-Tyla also has energy to spare for …

Welcome to the Department of Art and Music, where students pursue a variety of majors and activities, and make regular use of the opportunities presented by the superb cultural atmosphere of Boston. Coursera also offers an incredible breadth of courses to fit your needs, regardless of what specific part of the industry you want to work in. The Romance for violin and orchestra is a nice piece, developing from a somewhat over-sweet opening into some very interesting modal variations at a faster tempo. The Prologue for string orchestra is clearly the most serious piece on the orchestra, and it makes a nice finale. Both Henry Threadgill and Wadada Leo Smith, whose work I like quite a bit, have high praise for this system and claim it will help the improvising musician.

Mezzo-soprano Elīna Garanča has established herself as a major star through her highly acclaimed performances for the world’s leading …

From the very first notes of the Schoenberg Klavierstücke, one is aware of the fact that Iman is an artist and not just a technician. His phrasing and subtle use of dynamics mold and shape this music in ways I’ve never quite heard before. There is a certain “curvelinear” feel to his phrasing that attracts the listener, despite the fact that this is already 12-tone Schoenberg. In addition, his piano is recorded perfectly, giving his sound great clarity with just enough natural reverb around the instrument to not make it sound like an echo chamber. By binding the chords and phrases of Schoenberg’s music, Iman almost makes it sound more pentatonic than atonal—one might say, a cousin to Scriabin. I was just as delighted with the leader’s arrangements of other standard tunes in this album as I was with Morning Sunrise.

• Iman takes a different, more idiosyncratic approach, but despite