Laurence was born and grew up in Los Angeles; his father was a writer and his mother a teacher. He trained as a cellist, a librarian and a critic. His company was a major supplier to the music and recordings collections of the Library of Congress, Bibliothèque Nationale, British Library, Stanford, Harvard and Yale. He introduced French Harmonia Mundi, Hyperion, Chandos and Naxos to the North American market. Laurence believes that writing about music unleashes the potential of the classical music industry. He writes for the Huffington Post, Gramophone, Bachtrack, Strings, Audiophile Audition, and the Southern California Early Music Society.
Cellist and Intendant of the Dresden Music Festival tells us about the festival’s new commissions, performing on stage, and connecting together musicians from around the world.
John Adams' opera, in its third revision since its 2017, receives an outstanding concert performance in Walt Disney Concert Hall under the composer's baton.
The Marsch inBerg's Three Orchestra Pieces was engulfed in the same chaos that devastated the composer's world a century ago and is now threatening to devastate ours.
Julia Adolphe's new violin concerto, Woven Loom, Silver Spindle built impact and structure out of the instability between the brightly spinning realm of the violin and the darker, all-encompassing framework of the orchestra.
We spoke to the Polish duo, partners in life and on the piano bench, about their win in the chamber music division, their time on the competition's stage and what's important to them when performing together.
The soprano is lifted to lyrical heights by the Filarmonia della Scala and Andrés Orozco-Estrada at the open air Wolkenturm on the final night of the festival.
It was a pleasure to hear the Vienna Philharmonic in Herbert Blomstedt's deeply-invested nonagenarian's view of music he has been performing for nearly seven decades.
The crossed warning searchlights were out and aircraft mostly stayed away, as Gemma New and the Los Angeles Philharmonic got to know each better in Beethoven and Schumann.
When Alisa Weilerstein stepped on stage to play Joan Tower's new cello concerto during a Colorado thunderstorm, it was a case of three elemental powers conspiring to create.
The world premiere of Hannah Lash's Forestallings, rooted in her childhood love of Beethoven's Second Symphony, links to Peter Oundjian's arrangement of the Op.131 string quartet later in the program.
CoCo's players used a minimum of overt embellishment, always effective and appropriate, as if they felt that nothing more was needed than the printed notes.
