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...
The Prometheus Overture augurs well, a brightly lit performance, unhurried and nicely shaped with unforced accents. Coriolan on the other...
Reviewed by Rob Cowan in issue: 08/2014
The opening chord of Beethoven’s finale is echt Klemperer, weighty, incisive, austere, until, after a spell of mock deliberation, the...
Reviewed by Rob Cowan in issue: 08/2014
The two-keyboard idiom only occasionally catches our attention but when it does it’s always original and telling, be it Bach,...
Reviewed by Jonathan Freeman-Attwood in issue: 08/2014
It is rare nowadays for the Monteverdi Choir to venture as early as the English Renaissance; and it is equally...
Reviewed by Fabrice Fitch in issue: 08/2014
In his last release, ‘The Gentleman’s Flute’ (2/11), Stefan Temmingh focused on the kind of music experienced by the middle-class...
Reviewed by Lindsay Kemp in issue: 08/2014
Never mind the title: like the Lobo recording from La Grande Chapelle (Lauda, 3/14), this new offering takes its inspiration...
Reviewed by Fabrice Fitch in issue: 08/2014
The first disc in The Sixteen’s Polish Baroque series explored the mid-17th-century music of Bartłomiej Pękiel (9/13). The second takes...
Reviewed by Alexandra Coghlan in issue: 08/2014
Juanjo Mena and the BBC Philharmonic continue their exploration of the Spanish repertoire with this programme pinpointing Turina’s Andalusian roots....
Reviewed by Geoffrey Norris in issue: 08/2014
After Thomas Hampson’s recital disc last month, this will do nicely as a contrasting offering for Strauss’s 150th anniversary. Christiane...
Reviewed by Richard Fairman in issue: 08/2014
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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