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Schat Skeletons
Netherlands Ballet Orchestra | Thierry Fischer
Peter Schat (b 1935) is not the only composer of his generation to have renounced the Boulezian avant-garde he dutifully...
Reviewed by Arnold Whittall in issue: 4/2000
Bruhns Deutsche Kantaten
Cantus Cölln | Konrad Junghänel
Nicolaus Bruhns’ short career has been measured largely by his small but compelling contribution to the maturing 17thcentury North German...
Reviewed in issue 6/2002
Boito Mefistofele
This is an opera (I conclude) to be heard and not seen. The opportunities for excess are just too many...
Reviewed by John Steane in issue: 13/2008
Prokofiev String Quartets
The centenary year has already brought us two new sets of the Prokofiev quartets from the Chilingirian (Chandos) and Emerson...
Reviewed by Robert Layton in issue: 1/1992
Berg; Mahler; Schoenberg Lieder
Geoffrey Parsons | Thomas Hampson
The American baritone Thomas Hampson is turning out a veritable production line of recordings at the moment; but, with his...
Reviewed by hfinch in issue: 10/1990
Mahler Symphony No 6 'Tragic'
Benjamin Zander | Philharmonia Orchestra
This is Benjamin Zander’s second recording of Mahler’s Sixth Symphony. The first was recorded live in 1994 with the Boston...
Reviewed by Andrew Farach-Colton in issue: 2/2003
Hindemith Violin Concerto; Kammermusik No 4; Tuttifäntchen
Dene Olding | Queensland Symphony Orchestra (Brisbane) | Werner Andreas Albert
Hindemith’s Violin Concerto of 1939 is a splendid piece, yet unaccountably has never enjoyed the same success as, say, Bartok’s...
Reviewed in issue 11/1999
Weber Chamber Works
Aurèle Nicolet | Bruno Canino | Rocco Filippini
Apart from the Trio recorded here, Weber wrote only two pieces of concerted chamber music, the Piano Quartet and the...
Reviewed by John Warrack in issue: 7/1991
Narváez Musica del Delphin
Another handsomely packaged and superbly recorded release from ECM, “Musica del Delphin” sees Argentinian guitarist Pablo Márquez going back to...
Reviewed by William Yeoman in issue: 10/2007
Mascagni Iris
Do persevere with this one. It begins (after the sepulchral darkness and beautiful solo string writing of the Prelude) disconcertingly...
Reviewed by Michael Oliver in issue: 3/1998
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