It has been difficult to see Gidon Kremer in grand symphony halls of big
cities. His new recordings with his Kremarata Baltica Chamber Orchestra have
been exploring new music and redefining what’s in or beyond classical
music. Those titles such as “After Mozart” or “Eight Seasons” sometimes
baffle me: They sound like a young artist’s new installation with
conceptual-wrapped titles; attracting public attention but exposing
uneasiness and lack of confidence at the same time.
But Kremer is no new
