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(A) Mother's Love
(The) Sixteen | Harry Christophers
With its sentimental title, this collection is clearly aimed at the wider market-place. But the programme is perceptively chosen to...
Reviewed by Ivan March in issue: 11/2007
Guitar Works
Academy of St Martin in the Fields | Neville Marriner | Pepe Romero
We are faced with a familiar situation: three high-quality versions of each of two popular concertos, neither one a musical...
Reviewed by John Duarte in issue: 11/1986
Schubert Two String Quartets
The Takacs are a young Hungarian quartet of considerable promise, with, among other things, fine recordings of the quartets Bartok...
Reviewed in issue 9/1987
Wagner Overtures & Preludes
Bavarian Radio Symphony Orchestra | Cheryl Studer | Jeffrey Tate
If there is one moment that justifies the existence of this new CD it is the climax of the seldom...
Reviewed by Alan Blyth in issue: 9/1989
Arnold Symphony No.4
London Philharmonic Orchestra | Malcolm Arnold
The time seems just ripe for the revival of interest in the Malcolm Arnold symphonies. With the George Lloyd canon...
Reviewed by Ivan March in issue: 11/1990
Reger Cmplt wks for Violin and Orchestra
Christoph Mueller | Gothenburg Symphony Orchestra | Kolja Lessing
Reger’s enormous Violin Concerto had a troubled performance history and lay fallow until Adolf Busch took it up again in...
Reviewed by Stephen Plaistow in issue: 9/2011
Schubert Winterreise
Inger Södergren | Nathalie Stutzmann
Can it be 16 years since Brigitte Fassbaender recorded with Aribert Reimann her utterly memorable account of this cycle, one...
Reviewed by Alan Blyth in issue: 10/2004
Szymanowski Piano Sonatas
‘Goodness me,’ you may well be asking, ‘Did Szymanowski really write three piano sonatas?’ A pardonable question, since very few...
Reviewed by Michael Oliver in issue: 9/1999
Bang on a Can
In their second CD for Sony Classical, the Bang on a Can All-Stars administer another dose of belligerent ‘crossover’. Once...
Reviewed in issue 10/1996
Bach Das Wohltempierte Klavier: Book 1
A musician I know plays a prelude and fugue from the 48 first thing every morning, in order, he says,...
Reviewed by Lionel Salter in issue: 10/1989
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