Tamara Stefanovich’s intimate knowledge of Pierre Boulez’s Sonata No. 2 radiates from the opening notes—no surprise, as she studied directly with the composer. This early Boulez work, which he termed “explosive, disintegrating, and fragmented,” forms the centerpiece of her album aptly titled “Organised Delirium,” borrowing Boulez’s own description of his compositional beginnings. Stefanovich navigates theContinue reading “Modernism reborn under Stefanovich’s touch”