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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,…

Now mind you, I’m not saying that there’s anything wrong with Svedlund’s performance. All music is open to interpretation, and unless it is insensitive, there’s nothing wrong with a straightforward…

He does not play it safe; he jumps into the fire feet first, exploring extended chord positions and somehow landing on notes you’d never expect, giving one the thrill of…