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PROKOFIEV Visions Fugitives. SHOSTAKOVICH Preludes

A star in his native Austria, Benjamin Schmid has never been a conventional virtuoso. His discography tends to avoid the...

Reviewed by David Gutman in issue: 05/2015

PLEYEL String Quartets

This bodes well: ‘Hidden Gems, Vol 1’. Ignaz Joseph Pleyel is a name more remembered for his piano firm than...

Reviewed by Harriet Smith in issue: 05/2015

MESSIAEN Fantasie. Quartet for the End of Time

This issue contains a genuine rarity – Messiaen’s 1933 violin-and-piano Fantasie – already fully characteristic of his earlier manner, yet...

Reviewed by Duncan Druce in issue: 05/2015

MOZART String Quartet No 15 MENDELSSOHN String Quartet No 2

There is no doubt that there is the sort of energy on this disc, particularly in the Mendelssohn, that is...

Reviewed by Caroline Gill in issue: 05/2015

LISZT Music for Violin and Piano

Not many readers, even those of us who worship at the shrine of Franz Liszt, will have encountered these works...

Reviewed by Jeremy Nicholas in issue: 05/2015

LABORDE Extraits des Trois Recueils de Chansons

Jean Benjamin de La Borde (1734 94) – France’s own Charles Burney – composed three beguiling collections of accompanied songs...

Reviewed by Julie Anne Sadie in issue: 05/2015

JANÁČEK; MARTINŮ String Quartets

Janáček’s two string quartets are now classics, lending themselves to different interpretations, of which these by the admirable Doric Quartet...

Reviewed by John Warrack in issue: 05/2015

Red Priest: Handel in the Wind

'This is a disc that arguably should never have been made.’ That’s Red Priest themselves writing in the booklet accompanying...

Reviewed by William Yeoman in issue: 05/2015

GRIEG Cello Sonata GRAINGER Scandinavian Suite

Grieg’s 1882/83 Cello Sonata was premiered by the composer accompanying Friedrich Grützmacher (the cellist who made up Boccherini concertos). It...

Reviewed by Mike Ashman in issue: 05/2015

GORTON Orfordness. Fosdyke Wash

Now in his mid-thirties, David Gorton is a composer working in the more radical domain of post-war British music. This...

Reviewed by Richard Whitehouse in issue: 05/2015

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