Uchida, Mitsuko

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    Mitsuko Uchida Keeps the Focus on Young Artists at Ojai

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    Mitsuko Uchida sat at the piano with her back to the audience.It was an unusual look for a reigning pianist who can fill a concert hall, or sell a new album of 200-year-old sonatas, on the strength of just of her name and face. But over four evenings of performances at the Ojai Music Festival in California, that’s how Uchida played.It was especially strange, given that she was the festival’s music director, an annual post given to an artist to organize programming and the roster of performers. Throughout the festival’s outdoor campus, her name was on T-shirts and signs, not to mention Vogue-thick program books handed out at each concert.Then again, we’re talking about Ojai, where open-minded audiences take in music accompanied by nature and snack on freshly picked pixie tangerines. Uchida might have seemed like a headliner, but this festival is about sharing the wealth.She invited friends and colleagues whom she has known for years, like the endlessly genial Brentano String Quartet. Most heavily featured, during the festival’s run from June 6 through 9, was the Mahler Chamber Orchestra, with whom Uchida often tours in concerto programs that she leads from the piano.The Mahler Chamber Orchestra played traditional concerts at Ojai and also showed up at a local bar as a Johnny Cash cover band,Adali Schell for The New York TimesThose tours, though, rarely showcase the shape-shifting resourcefulness the ensemble brought to Ojai. Its members played pop-up miniatures in Libbey Park, the festival’s center, and even at a local bar as a Johnny Cash cover band. Onstage, they took on traditional fare, like heavenly Mozart concertos with Uchida, but also more contemporary works by Missy Mazzoli and John Adams.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Winterreise’ Review: Hiding a Roiling Grief

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      On Friday, the pianist Mitsuko Uchida and the tenor Mark Padmore illuminated the bleakness of Schubert’s genre-defining song cycle at Zankel Hall.It was a performance of hard-won wisdom. When the eminent pianist Mitsuko Uchida and the tenor Mark Padmore teamed up for Schubert’s “Winterreise” on Friday at Zankel Hall, they brought the maturity of hindsight to a genre-defining work of young, unrequited love. The concert was part of Uchida’s Perspectives series with Carnegie Hall.Schubert’s cycle comprises 24 songs, most of them in minor keys, and derives from the natural world endless metaphors for heartache. The winter’s journey of the title begins with a breakup, and the narrator spends the rest of the time ruminating upon the fallout. The narrator’s beloved, he says, proved to be as fickle as a weather vane batted by the wind. His tears freeze and scald, and his numbness hides a roiling grief, like a river seething below a surface of ice.The piano part has the capacity to amplify or comment on the narrator’s mental state, and Uchida used it to console him like a wise, empathetic friend. She eased into key changes with subtle decelerations. The octaves of “Der Lindenbaum” (“The Linden Tree”) were transparent, rather than towering, and the rustling of branches had a dusky quality as though seen through the mollifying haze of a dream. In “Wasserflut” (“Flood”), she handled chromatic semitones with utmost delicacy to minimize the impact of their dissonant pangs. Her performance came to a peak in “Das Wirtshaus” (“The Inn”), where a slow, firm sequence of full-fingered chords provided ineffable comfort.The narrator’s beloved dominates the first half, but in a curious twist, she largely vanishes in the second, as his despair consumes him and convinces him that he’s destined for life as a social pariah.Uchida achieved arresting coherence across the entire cycle, but Padmore dug more specifically into that point of divergence. His acidulous tone, an awkward fit for the cycle’s early expressions of young heartbreak, illuminated the existential anguish of a soul who has decided he’s better off lost. Rather than struggle with that anguish, Padmore’s narrator embraced it with a sense of finality beyond his years.Padmore muscled his way through the cycle’s first 12 songs, summoning a pointed resonance but no real sense of line in Schubert’s gracious melodies. The milky softness of his tone in early recordings has curdled, and his technique, which used to cultivate mellifluousness with frequent use of a precise and floaty mixed voice, now produces a hard and unwieldy sound that veers out of tune.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Carnegie Hall Announces Its 2023-24 Season

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      We choose highlights from events featuring Mitsuko Uchida and Franz Welser-Möst as Perspectives artists, and the composer Tania León in residence.The threats facing democracy will be a central focus of Carnegie Hall’s coming season, the presenter announced on Tuesday, with a festival devoted to the flourishing cultural scene in Germany between the two world wars.From January to May, Carnegie will host “Fall of the Weimar Republic: Dancing on the Precipice,” an exploration of creative expression during the fragile democracy in Germany from 1919 to 1933. The festival will feature ensembles such as the Vienna Philharmonic and the Orchestra of St. Luke’s performing works by composers of the time, including Paul Hindemith and Kurt Weill.“We’re seeing the challenges to democracy more and more clearly, and it’s all the more reason we have to treasure it,” Clive Gillinson, Carnegie’s executive and artistic director, said in an interview. “We want people to ask questions and contemplate why democracy matters, and what the threats are in our day.”The 2023-24 season, which begins in October, will feature some 170 performances, beginning with two concerts by the Chicago Symphony Orchestra, under the baton of its outgoing music director, Riccardo Muti. The pianist Mitsuko Uchida and the conductor Franz Welser-Möst, the music director of the Cleveland Orchestra, will each organize a series of Perspectives concerts.The composer Tania León, who won the Pulitzer Prize for music in 2021, will lead a season-long residency; in January, the Boston Symphony Orchestra will offer the New York premiere of a new piece by her.More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.Here are a dozen highlights of the coming season, chosen by critics for The New York Times. JAVIER C. HERNÁNDEZEnglish Baroque Soloists and Monteverdi Choir, Oct. 25You can safely bet on a few things whenever the conductor John Eliot Gardiner comes to town: agile, historically informed performance; obsessively precise articulation; and virtually ideal readings of beloved repertoire. In early 2020, he led his Orchestre Révolutionnaire et Romantique in just about as good a Beethoven symphony cycle as you could imagine. And now he brings the English Baroque Soloists and the Monteverdi Choir to Carnegie for Bach’s Mass in B minor and, on Oct. 26, Handel’s “L’Allegro, il Penseroso ed il Moderato.” JOSHUA BARONEThe mezzo-soprano Lea Desandre will appear at Weill Recital Hall with the lutenist Thomas Dunford.Joel Saget/Agence France-Presse — Getty ImagesLea Desandre and Thomas Dunford, Nov. 2These two artists — Desandre, a clarinet-mellow mezzo-soprano who can burst with bright agility, and Dunford, an eloquent lutenist — are among the brightest lights of a young generation of early-music specialists. They join in Weill Recital Hall, ideally intimate for this repertory, for “Lettera Amorosa,” a program of love-focused Baroque works by Monteverdi, Frescobaldi and Handel, alongside names like Tarquinio Merula (his songs exquisite) and Giovanni Girolamo Kapsperger (a specialist in music for lute). ZACHARY WOOLFEAmerican Composers Orchestra, Nov. 9This essential organization has brought music by George Lewis to Carnegie’s various spaces before — the most notable instance being his Virtual Concerto (for a “computer-driven” piano soloist) back in 2004. The orchestra will continue its productive relationship with the composer to perform one of his latest orchestral works. No title for the piece is available yet; the same goes for a few other new works on the bill (including those from the likes of Guillermo Klein and Augusta Read Thomas). We do have one title: “Out of whose womb came the ice,” by the up-and-coming composer Nina C. Young, whose premiere was co-commissioned by Carnegie. SETH COLTER WALLSStaatskapelle Berlin, Nov. 30When the Staatskapelle Berlin and its longtime music director, Daniel Barenboim, last appeared at Carnegie, in 2017, it was an epic nine-performance stand that paired Mozart piano concertos and Bruckner symphonies. A lot has happened since then; most recently, in January, Barenboim stepped down from the orchestra’s podium because of health problems. So their return will be poignant: just two nights, and the four symphonies of Brahms, a composer Barenboim performed as a pianist in this space in 1962. ZACHARY WOOLFEEnglish Concert, Dec. 10The British soprano Lucy Crowe’s expertise and imagination in Baroque music gives her the freedom to turn da capo arias into feats of feeling. That exhilarating sense of spontaneity uplifted the English Concert’s performance of Handel’s “Serse” at Carnegie last year, and it will be exciting to hear Crowe apply her gifts to more dramatic material when she takes the title role in “Rodelinda.” OUSSAMA ZAHRThe pianist Daniil Trifonov will appear on Carnegie’s main stage to perform Beethoven’s mighty “Hammerklavier” Sonata.Caitlin Ochs for The New York TimesDaniil Trifonov, Dec. 12Arguably the mightiest of the under-40 generation of superstar pianists meets the mightiest of repertoire in this recital, as Daniil Trifonov takes on Beethoven’s “Hammerklavier” Sonata. It’s a banner year for youngish soloists in ambitious repertoire, in fact: Vikingur Olafsson plays the “Goldberg” Variations (Feb. 7); Beatrice Rana does the Liszt Sonata (Feb. 28); and Seong-Jin Cho journeys through the second book of the same composer’s “Années de Pèlerinage” (May 17). DAVID ALLENMet Orchestra, Feb. 1Yannick Nézet-Séguin has decided not to share next season. Rather than engage a guest conductor, he helms all three of the Met Orchestra’s concerts himself, embracing opportunities to bask in the tonal floodgates of Lise Davidsen’s soprano in Wagner’s “Wesendonck Lieder” and, later, the heavenliness of Lisette Oropesa’s Mozart arias (June 11), and the intense standoff of Bartók’s “Bluebeard’s Castle” with Elina Garanca and Christian Van Horn (June 14). OUSSAMA ZAHRYunchan Lim, Feb. 21This precociously mature pianist, still in his teens, played Liszt’s deliriously difficult “Transcendental Études” on the way to becoming the youngest-ever winner of the Van Cliburn International Piano Competition last year. He’ll reprise the Liszt as part of his recital introduction on Carnegie’s main stage. By this point, another pianist, the spectacularly creative Igor Levit, needs no introduction at this point to this hall’s audience; on Jan. 20, he’ll play two symphony transcriptions (Liszt’s of Beethoven’s Third and Ronald Stevenson’s of Mahler’s 10th) alongside Hindemith’s Suite “1922,” raucous and very Roaring Twenties. ZACHARY WOOLFEVienna Philharmonic, March 1Most of the five concerts in Welser-Möst’s Perspectives series — Jan. 20 and 21 with the Cleveland Orchestra, March 1-3 with Vienna — are emblematic of his thoughtful, idiosyncratic, ultimately endearing approach to programming, but the March 1 performance looks especially constructive, full of connections and contrasts to draw: Hindemith’s Konzertmusik for Wind Orchestra, Strauss’s Symphonic Fantasy from “Die Frau Ohne Schatten,” Schoenberg’s Variations for Orchestra and, as if to bid farewell to a whole world of music, Ravel’s “La Valse.” DAVID ALLENJason Moran will return to Carnegie with a tribute to the pioneering jazz musician James Reese Europe.Gioncarlo Valentine for The New York TimesJason Moran, March 9In addition to being an elite improvising pianist, Jason Moran is a keen programmer; his Carnegie survey of Black American music from the Great Migration was a well-attended success. You can all but bank on the same when Moran brings his latest concert concept to Zankel Hall. This time, the focus will be on the music of the early 20th-century American original James Reese Europe. You might expect some of the same expert arrangements heard on Moran’s latest album, “From the Dancehall to the Battlefield.” But prepare also for some surprises; this restless innovator rarely does anything the same way twice. SETH COLTER WALLSEnsemble Modern, April 12Much of the festival “Fall of the Weimar Republic: Dancing on the Precipice” is more confusing than informative. This period in history produced so much excellent and overlooked music; why are we seeing Beethoven, Wagner and Mahler (among other head-scratchers)? At least there are engagements like that of Ensemble Modern, which will perform works including a lithe but still barbed smaller arrangement of Kurt Weill and Bertolt Brecht’s “The Seven Deadly Sins,” led by HK Gruber, one of our greatest living Weill interpreters. The group returns April 13 as part of León’s residency, playing her “Indígena” and “Rítmicas” alongside pieces by Conlon Nancarrow and others. JOSHUA BARONEDanish String Quartet, April 18A highlight of Carnegie’s spring months in recent seasons has been the Danish String Quartet’s Doppelgänger project, which juxtaposes Schubert quartets with premieres. Coming this April: a new work by Anna Thorvaldsdottir. And, for the fourth installment next year, the group is adding the cellist Johannes Rostamo to perform Schubert’s endlessly moving, even sublime String Quintet in C, paired with a commission from Thomas Adès. JOSHUA BARONE More

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      Review: Mitsuko Uchida Revisits Beethoven’s Final Sonatas

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      One of our wisest pianists appeared at Carnegie Hall with some of the wisest music written for her instrument.One thing die-hard classical music fans like to do during a concert’s intermission is compare notes — about the performance at hand, about what else has been going on around town and about what’s coming up.It was during one of those conversations recently that I asked a friend whether he was planning to see the pianist Mitsuko Uchida’s recital of late Beethoven sonatas at Carnegie Hall. He said no, he didn’t need to hear her in that repertoire.Understandable, to a point. She has toured this music before, and recorded it, marvelously, in 2006. But Uchida, 74, is an artist who returns to the familiar, especially the works of Mozart, Schubert and Beethoven, as part of a lifelong argument for the benefits of repeated examination. “The great composers always change,” she once said in an interview. “And as you change, they change.”More on N.Y.C. Theater, Music and Dance This SpringMusical Revivals: Why do the worst characters in musicals get the best tunes? In upcoming revivals, world leaders both real and mythical get an image makeover they may not deserve, our critic writes.Rising Stars: These actors turned playwrights all excavate memories and meaning from their lives in creating these four shows, which arrive in New York in the coming months.Gustavo Dudamel: The New York Philharmonic’s new music director, will conduct Mahler’s Ninth Symphony in May. It will be one of the hottest tickets in town.Feeling the Buzz: “Bob Fosse’s Dancin’” is back on Broadway. Its stars? An eclectic cast of dancers who are anything but machines.At Carnegie on Friday, in her recital of Beethoven’s final three piano sonatas, Uchida did behave like a different artist from the one who recorded these works nearly two decades ago. I don’t believe that age is inherently necessary or helpful in music — Igor Levit had a handle on Beethoven’s late style in his 20s — but what was reflected onstage was the unaffected wisdom and clarity that comes with decades of interpretive rigor and commitment.Uchida’s recording of these pieces is insistently lyrical, borderline Schubertian. The sonatas were, in her reading at the time, intimate, private musings that were made public but didn’t seem as if they needed to be. On Friday, however, her sound was often comparatively bright and extreme — the sforzandos true explosions, the pianissimos exquisitely soft-spoken. Each sonata unfurled with improvisatory freedom, absolutely alive, its heart showing more than its head. Yet because of Uchida’s technique, her pedalwork and precision, the scores were also transparently multidimensional. You could hear, with awe-inspiring ease, every line threaded through the fugue of the Op. 110’s finale. Then and now, her playing was persuasive; Beethoven’s music can withstand, even demand, both approaches.In her Op. 109, the Sonata No. 30 in E, the lilting vivace opening crested and fell in force — more a wave than a ripple, but, in its alluringly long line, still beating from the same source. This work, and the two others on the program, can be difficult to voice, to tease a melody from tangled rhythms and tricky fingerings; on Friday, Uchida lent just the right amount of weight to each finger to emphasize the counterpoint, revealing the architecture of the score, without distracting from the singing melodies it supports.At times, particularly in the Op. 110 Sonata in A flat, her sound approached that of lieder by Schubert, who seemed to trade places with Bach as the arioso alternated with an intricate, three-part fugue. In Uchida’s hands, that finale — in Beethovenian fashion, a journey from profound despair to euphoric heights — achieved a kind of holy grandeur.She reached even higher in her account of the Op. 111 in C minor. In the closing Arietta — after the straightforward theme and the initial variations on it, including one that famously swings like a glimpse of music’s jazzier future — with a lot of score left to go, she seemed to depart from everything that had come before. Her trills twinkling, her playing more personal than performative, she followed Beethoven’s leap to the cosmos and remained with him to the whispered final measure.Afterward, Uchida repeatedly returned to the stage to bow but never to encore; how could she? In her trademark way, every time she faced the audience she looked a bit surprised, then grateful — as if, after sharing all she had, she was the one who should be thanking us.Mitsuko UchidaPerformed on Friday at Carnegie Hall, Manhattan. Uchida returns there for a master class on Wednesday and a concert with the Mahler Chamber Orchestra on March 9. More

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      Review: A Recital Brings Together Two Schubert Masters

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      The pianist Mitsuko Uchida and the tenor Mark Padmore subtly threaded a program of Beethoven songs and Schubert’s “Schwanengesang.”It’s difficult to avoid superlatives when writing about Mitsuko Uchida and Mark Padmore.Especially when it comes to Schubert. Among pianists, Uchida is our reigning interpreter of his music — returning to it repeatedly, revealing ever more layers of mystery, wit and aching beauty. And Padmore, his tenor sound delicate and direct, with an unforced undercurrent of sadness, can feel like the incarnation of this composer’s style.As a pairing, Uchida and Padmore are wellsprings of wisdom and sensitivity, a truly equal partnership. The performances that result from their deep study of these scores are unpretentious master classes in the art of letting music speak for itself.Yet they have never recorded any Schubert together. (Padmore has released albums of this repertory with Paul Lewis and Kristian Bezuidenhout; Uchida, with Ian Bostridge.) So it was a gift to hear them in recital at Zankel Hall on Sunday in the posthumous collection “Schwanengesang” and Beethoven songs, including the pioneering cycle “An die ferne Geliebte,” all studies in extreme longing.Apart from “An die ferne Geliebte,” Beethoven’s lieder are chronically overlooked next to his towering achievements in the symphony, sonata and string quartet. But his songs are fascinating and unwieldy: shifting with little predictability among folk melody, recitative and concert aria virtuosity, sometimes from verse to verse. With their voice-forward writing, they put the most strain of the recital on Padmore, who can fill an opera house but scaled his sound back to Zankel’s intimacy, with flashes of full power all the more effective for their judiciousness.There were rattling contrasts even in the first song of the program: the Op. 94 setting, Beethoven’s second, of “An die Hoffnung” (“To Hope”), which starts with a recitative-like questioning of God’s existence before launching into lyrical lines that showcase the fine softness of Padmore’s upper range, and a radiant climax. “Resignation,” which followed, had the Schubertian spareness to which his voice is best suited; simpler still was “Abendlied unterm gestirnten Himmel” (“Evening Song Beneath the Starry Sky”), its closing chords of childlike purity played by Uchida as if a private prayer.“An die ferne Geliebte” (“To the Distant Beloved”) is often regarded as the first song cycle: six brief text settings, flowing without pause, in a precursor to longer Schubert masterpieces like “Die schöne Müllerin” and “Winterreise.” Throughout, Uchida and Padmore behaved like a single instrument; so thorough was their shared vision that they almost never cued or acknowledged each other, even for rubato stretchings of the line or for abrupt changes in tempo.As in the account of “Schwanengesang” (“Swan Song”) that followed, Padmore’s sound was remarkable most for its balance of clarity and character. Similar to Uchida, his performances are compelling — without the theatricality of, for example, Bostridge, who tends to serve Schubert with a side of self-immolation.“Schwanengesang” wouldn’t benefit from histrionics, anyway; a loose collection of Schubert’s final songs, it lacks the through line of his cycles, packing their intensity into discrete pieces that demand discrete interpretations. If one trait united them here, though, it was restraint. The famous “Ständchen” (“Serenade”), for example, has an expressive style that invites schmaltz, but also maintains a chilly distance in its articulation — a tension borne out in Padmore’s wide vocal contours and Uchida’s staccato, choked off like a series of declarations repeatedly withheld.Schubert verges on tone painting in some of the collection’s later songs; Uchida responded with pedal work that, in “Die Stadt” (“The Town”), allowed the rumbling low notes to evoke a dense fog occasionally penetrated by a mysterious run in the right hand, like an image coming in and out of focus. In “Der Doppelgänger” — one of Schubert’s most terrifying songs — she sustained dissonances, letting their uneasiness warp and linger under Padmore’s stark melody.The frighteningly open chords of “Der Doppelgänger” recall those of “Der Leiermann” at the end of “Winterreise,” but “Schwanengesang” concludes in an entirely different mood: “Die Taubenpost” (“Carrier Pigeon”), a comparatively sunny setting of text by Johann Gabriel Seidl. That pigeon, the narrator reveals, is named “die Sehnsucht,” or Longing.Speaking from the stage earlier in the recital, Padmore reflected on that word. He tallied its appearances in the Schubert and Beethoven songs, as a noun and a verb, and noted that it figures in the finales of both “An die ferne Geliebte” and “Schwanengesang.”Yet “Die Taubenpost” also ends by describing the bird as “the messenger of faithfulness.” Longing can be painful, yes; this recital’s poems suggested as much. But Uchida and Padmore also made a subtle argument that it can also be — with a clue in the first song’s cry of “O Hoffnung!” — hopeful.Mitsuko Uchida and Mark PadmorePerformed on Sunday at Zankel Hall, Manhattan. More

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      10 Classical Concerts to Stream in March

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeWatch: ‘WandaVision’Travel: More SustainablyFreeze: Homemade TreatsCheck Out: Podcasters’ Favorite PodcastsAdvertisementContinue reading the main storySupported byContinue reading the main story10 Classical Concerts to Stream in MarchMitsuko Uchida, the Louisiana Philharmonic and a performance organized by Teju Cole are among the highlights.The pianist Mitsuko Uchida will stream a Schubert program this month through Cal Performances.Credit…Hiroyuki Ito for The New York TimesFeb. 25, 2021, 10:00 a.m. ETAs the live performing arts continue to struggle through the coronavirus pandemic, here are 10 highlights from the flood of online music content coming in March. (Times listed are Eastern.)‘Die Tote Stadt’Feb. 28 at 1 p.m.; operavision.eu; available through March 28.Korngold’s breakthrough opera has not been well served on DVD. Some productions emphasize the plot’s salaciousness at the expense of its musical beauty. For others, the problem is the reverse. If anyone can achieve the delicate balance of the two elements, it’s the experienced director Robert Carsen, whose production of the rapturous, late Romantic score — a precursor to Korngold’s influential Hollywood work — appeared at the Komische Oper in Berlin in 2018, and is streaming now. The soprano Sara Jakubiak stars, and has made something of a specialty of Korngold in recent years, including appearing in another recent Berlin staging, at the Deutsche Oper, of “Das Wunder der Heliane.” SETH COLTER WALLSTeju Cole and Orchestra of St. Luke’sMarch 3 at 6:30 p.m.; oslmusic.org; available until March 10.This ensemble, which has responded robustly and creatively to the constraints of streamed performance, begins a new words-and-music series, “Sounds and Stories,” with a program organized by the writer Teju Cole and hosted by the actor David Hyde Pierce. Cole will read selections from his work alongside visual elements and pieces by an eclectic array of composers: Caroline Shaw, Yvette Janine Jackson, Henryk Gorecki, Unsuk Chin, Kaija Saariaho and Hildegard von Bingen. Oh, and Beethoven. ZACHARY WOOLFEAnthony McGill will collaborate with the Catalyst Quartet on a performance presented by the Metropolitan Museum of Art.Credit…Hiroyuki Ito for The New York TimesAnthony McGillMarch 9 at 7 p.m.; Facebook and YouTube; available indefinitely.“Cadence: The Sounds of Justice, the Sounds of a Movement,” presented by the Metropolitan Museum of Art, has been organized by Anthony McGill, the New York Philharmonic’s principal clarinet and the latest winner of the Avery Fisher Prize. Inspired by the Great Migration and works in the museum’s collection, McGill is joined by the Catalyst Quartet, with whom he collaborated on the group’s album “Uncovered, Vol. 1: Samuel Coleridge-Taylor.” They will play Coleridge-Taylor’s Clarinet Quintet in F sharp minor alongside Kerry James Marshall’s 2014 painting “Untitled (Studio),” and a premiere by Richard Danielpour, in front of Philip Guston’s “Stationary Figure” (1973). Closing the concert will be Adolphus Hailstork’s solo “Three Smiles for Tracey,” juxtaposed with Joel Shapiro’s sculpture “Untitled” (2000-01). JOSHUA BARONESteven BanksMarch 10 at 7:30 p.m.; Facebook and YouTube; available indefinitely.This adventurous saxophonist and composer presents his debut recital for the organization Young Concert Artists, which named him the winner of its prestigious international auditions competition in 2019. The program, with the pianist Xak Bjerken, includes premieres by Carlos Simon and Saad Haddad and Banks’s own new work “Come As You Are.” He will also perform Mozart’s Oboe Quartet in F (with members of the Zorá Quartet) and Schumann’s “Fantasiestücke” for Clarinet and Piano — both arranged for saxophone. And why not? The sax, after all, is a latter-day cousin of both those instruments. ANTHONY TOMMASINILouisiana Philharmonic OrchestraMarch 12 at 8 p.m.; lpomusic.com; available through September.There are two Copland works on this program: “Appalachian Spring” and the Clarinet Concerto. But the bigger news is the performance of Courtney Bryan’s violin concerto “Syzygy,” featuring Jennifer Koh as soloist. The Louisiana players have a longstanding connection with Bryan’s music; having performed her orchestral work “Rejoice,” they’ve also named this composer-pianist a “creative partner.” So they may well have a feel for her take on Americana, which often includes elements of spirituals and the blues. (Bryan’s “Blessed,” a commission for Opera Philadelphia’s online channel, is also streaming from Feb. 26.) SETH COLTER WALLSThe mezzo-soprano Kate Lindsey performs Kurt Weill at the Teatro alla Scala in Milan.Credit…Victor Llorente for The New York TimesKate LindseyMarch 14 at 2 p.m.; teatroallascala.org, as well as YouTube and Facebook; available through March 21.One of my favorite albums in recent years has been “Thousands of Miles,” a program mostly of Kurt Weill songs performed by the mezzo-soprano Kate Lindsey and the pianist Baptiste Trotignon with cabaret-like cool; Lindsey brings to these works both the radiant lyricism of Teresa Stratas and the raw Sprechstimme of Lotte Lenya, two iconic Weill interpreters. That album is the basis for this recital with Trotignon at the Teatro alla Scala in Milan, where Lindsey will also appear in March for a double bill of Weill’s “The Seven Deadly Sins” and “Mahagonny-Songspiel,” conducted by Riccardo Chailly and streaming on RaiPlay on March 18. JOSHUA BARONEMitsuko UchidaMarch 18 at 10 p.m.; calperformances.org; available through June 16.For Mitsuko Uchida, Schubert’s piano works have been a lifelong work in progress, which is why, years after she recorded the bulk of them, they are still well worth hearing anew — lately, in online recitals. From Wigmore Hall in London she recently streamed the Sonata in C (D. 840) for the Cleveland Orchestra. Next is this program for Cal Performances, featuring the forlorn yet tender Impromptu in A flat (D. 935); the famous Impromptu in C minor (D. 899), with its spare, enigmatic opening march embellished through chords and variations; and the Sonata in G (D. 894), a font of serenity that’s as good a spiritual balm as anything right now. JOSHUA BARONESarah CahillMarch 20 at 10:30 p.m.; YouTube; available indefinitely.A champion of American music and living composers, this pianist is also known as host of the popular program Revolutions Per Minutes on KALW in San Francisco. This recital, presented by the Community School of Music and Arts in Mountain View, Calif., is a celebration of the 19th Amendment, and includes works by female composers from the 18th century to the present day, among them Clara Schumann, Amy Beach, Margaret Bonds and Vitezslava Kapralova. ANTHONY TOMMASINICaramoor will stream a recital by the bass-baritone Dashon Burton, left.Credit…Hiroyuki Ito for The New York TimesDashon BurtonMarch 21 at 3 p.m.; caramoor.org; available until March 23.Known as a member of the contemporary vocal ensemble Roomful of Teeth as much as for trumpeting performances in Handel’s “Messiah,” this burnished-tone bass-baritone appears in recital with the pianist David Fung under the auspices of Caramoor. The program includes Schumann’s “Dichterliebe” as well as spirituals and works by Dowland, Margaret Bonds, Florence Price and William Bolcom. ZACHARY WOOLFELouisville OrchestraMarch 27 at 7:30 p.m.; louisvilleorchestra.vhx.tv; available until May 23.The exuberance of this ensemble and its young music director, Teddy Abrams, is captured in its name for its streaming series: Louisville Orchestra Virtual Edition, or LOVE. Installments explore Classical and folk styles, and, on March 27, the legacy of Black traditions. Abrams conducts from the keyboard in Ravel’s jazz-influenced Piano Concerto in G, and the local rapper, activist, teacher and Louisville Metro Council member Jecorey Arthur performs. ZACHARY WOOLFEAdvertisementContinue reading the main story More