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"Some of this score is as good as anything Ellington ever wrote," Mr. Barkan said.
But whole stretches of this score just spin on and on in ruminatively lyrical melodic lines.
Seldom has the rhythmic intricacy of this score seemed so prominent a feature of the music.
In the second half, Mr. Boulez, who has long shown particular mastery of this score, conducts it complete.
Mr. Levine and his orchestra gave a magnificently supple, warm-blooded performance of this score at Carnegie Hall in 2005.
Every part of this score I felt I could use men to, even the adagio, which was interesting.
Furthermore, in a standard version of this score the performers would have far less rhythmic flexibility.
Its ability to balance all the aspects of this score has not been surpassed in the quarter century since it first appeared.
Although the overall musical language of this score recalls the American Neo-Classicists, Mr. Sirota's compositional voice has a distinctive tartness and rhythmic bite.
The conductor, Robert Spano, was the master of this score, ably guiding every metric shift and fractured meter, conducting with inexorable sweep yet telling detail.
He brought out all the intriguing subtleties of this score, for example, the ascending inner voices that crisscross the descending melodic line in the gently insistent Cha-Cha.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com