Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
With their latest disc, The Choir of Royal Holloway and Music Director Rupert Gough ensure that Oxbridge ensembles don’t have...
Reviewed by Alexandra Coghlan in issue: 12/2014
In this final instalment of their trilogy of Tchaikovsky ballet recordings, it comes as no surprise that the players in...
Reviewed by Adrian Edwards in issue: 12/2014
The high standards of Vladimir Ashkenazy’s previous two solo Bach outings operate less consistently in the present release. Observing full...
Reviewed by Jed Distler in issue: 12/2014
At first sight it seems strange that LSO Live should be revisiting this repertoire after the remarkable success of a...
Reviewed by David Gutman in issue: 12/2014
There is something distinctly numinous about the sound of Howells’s choral music, especially for unaccompanied choir, and in the hands...
Reviewed by Jeremy Dibble in issue: 12/2014
Papa Haydn. Is he, in today’s pejorative meaning, pretty close to the image of a simpleton? The Doric Quartet say...
Reviewed by Nalen Anthoni in issue: 12/2014
Some of the finest harpsichordists of our day have celebrated Rameau’s 250th anniversary with versions of his highly regarded if...
Reviewed by Julie Anne Sadie in issue: 12/2014
Since Benjamin Britten broke a lance for it in 1973, Scenes from Goethe’s Faust has not suffered from the choral-society...
Reviewed by Peter Quantrill in issue: 12/2014
Romina Basso collaborates with the Greek continuo trio Latinitas Nostra in this curate’s egg of laments by Italian composers of...
Reviewed by David Vickers in issue: 12/2014
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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