With nine new recordings of Mahler’s epic Resurrection Symphony this year alone, which rises above the rest?

There have been a fair few Resurrection Symphonies this year, and a positive glut on disc, but Antonio Pappano has form with Mahler and the London Symphony Orchestra can be relied upon to follow where he leads. First, though, the UK premiere of a new work by Dai Fujikura that had precisely nothing to do with the main event but was no less interesting for that. Amber Alchemy, commissioned to celebrate the centenary of Nomura Holdings, was inspired by the beehives atop the Japanese financial company’s London offices. In his programme note, the composer expressed his intention to evoke rather than illustrate, yet it was hard to ignore the orchestral buzz that underpinned much of this engaging 10-minute work. Quivering strings and a shimmer of vibraphones opened proceedings with striking instrumental gestures trailing off in flickering diminuendos. Pappano and the LSO brought a commendable clarity to Fujikura’s intricately interwoven lines, contrasting the music’s romantic outward sweep with its apian inner restlessness. Intention to evoke rather than illustrate… Dai Fujikura with Antonio Pappano at the UK premiere of his Amber Alchemy.

Album Artwork for The Owens Brothers' Tomorrow's Tears Today (Singles 1961–1967) / (L-R) Louis Owens, Dolly Parton and Bill Owens in the Owepar Publishing offices, circa 1969. Credit: Courtesy of Owepar Entertainment NASHVILLE, TN — Owepar Entertainment continues its preservation of the Owens-Parton family musical legacy with the October 2nd release of Tomorrow’s Tears Today, a newly remastered collection featuring eighteen recordings by The Owens Brothers recorded between 1961 and 1967.

“The exhibition in no way presents her as an Impressionist,” exhibition cocurator Stéphanie Cantarutti told ARTnews .

Is there a better no-frills standup at work today than Kevin Bridges? You’d struggle to find a more unfussily funny demonstration of the art form’s traditional virtues than at the Glaswegian’s new touring set. It’s a consistently laugh-out-loud suite of observational material on subjects comics have addressed since time immemorial: nostalgia, marital dispute, the latest cultural trends – alongside, as Ben Elton used to have it, a little bit of politics, too. Bridges really does have the X factor, and – without him ever seeming to stretch himself – Here If You Need Me is a steamroller 75 minutes of standup. For me, it needed to be, after being hit by a £10 – 10 pounds! – cloakroom charge because my innocuous wee bag (a notebook, a novel, a pair of glasses) was apparently too incendiary to be allowed into the venue. Oh that Bridges would turn his satirical eye on that racket. But the show starts with more obvious targets: Donald Trump, whose “negotiating” techniques our host burlesques in a violent dialogue with his electrician; and Benjamin Netanyahu, pausing before another act of destruction to check out Bridges’ Instagram feed.