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VERDI Requiem

Lorin Maazel made his Proms debut with this work back in 1969, the first live performance of the score that...

Reviewed by Mike Ashman in issue: 07/2015

TALBOT Path of Miracles

This isn’t the first time that American choir Conspirare has gone head-to-head with Britain’s own Tenebrae. Last year the former’s...

Reviewed by Alexandra Coghlan in issue: 07/2015

SIBELIUS Complete Works for Mixed Choir

The Estonian Philharmonic Chamber Choir and their Finnish conductor, Heikki Seppänen, have left no musical stone unturned in their quest...

Reviewed by Malcolm Riley in issue: 07/2015

SHOSTAKOVICH Cantatas

Divining the intention behind Shostakovich’s cantatas is a favourite game for commentators. Hackwork carried out with a minimum of commitment?...

Reviewed by David Fanning in issue: 07

RIHM Et Lux

Wolfgang Rihm originally conceived Et lux for the four voices of the all-male Hilliard Ensemble and the Arditti String Quartet,...

Reviewed by Arnold Whittall in issue: 07/2015

PENDERECKI Magnificat. Kadisz

The Christian Magnificat and the Jewish Kaddish are, you might think, completely different kinds of religious text. Yet judging by...

Reviewed by Arnold Whittall in issue: 07/2015

PÄRT Te Deum. Berlin Mass

As 80th-birthday presents go, this handsomely produced tribute to Arvo Pärt will take some surpassing. Recorded in 2012 and 2014,...

Reviewed by Malcolm Riley in issue: 07/2015

MONTEVERDI Madrigals Vol 1: Cremona

From the outset, the young Monteverdi knew how to clothe lovers’ torment in music so beguiling as to induce the...

Reviewed by Fabrice Fitch in issue: 07/2015

MACMILLAN St Luke Passion

Words taken from the Magnificat make a somewhat surprising opening to this second in the projected series of four Passion...

Reviewed by Marc Rochester in issue: 07/2015

KEISER St Mark Passion

It is often claimed that Bach performed Reinhard Keiser’s St Mark Passion on Good Friday on at least three occasions...

Reviewed by David Vickers in issue: 07/2015

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