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JENKINS Motets

When John Rutter composed The Shepherd’s Pipe Carol for the second volume of Carols for Choirs back in 1967, he...

Reviewed by Adrian Edwards in issue: 08/2014

HANDEL The Triumph of Time and Truth

It is misleading to rank The Triumph of Time and Truth (1757) as Handel’s last English oratorio. Unlike Jephtha (1752),...

Reviewed by David Vickers in issue: 08/2014

GRUNDMAN The Resurrection of Christ

His classical credentials might be impeccable but Jorge Grundman (b1961) is best known for his research into acoustics and technology...

Reviewed by Richard Whitehouse in issue: 08/2014

DICKINSON The Judas Tree

<p>Peter...

Reviewed by Adrian Edwards in issue: 08/2014

BRUCKNER Mass No 3

Performances on disc remain relatively rare, and I wish I could greet this new recording of Bruckner’s Mass No 3...

Reviewed by Philip Clark in issue: 08/2014

BRAHMS Violin Sonatas Nos 1-3

Leonidas Kavakos and Yuja Wang show how to interpret Brahms’s intentions, their expression precisely tailored to the expressive curves clearly...

Reviewed by Duncan Druce in issue: 07/2014

DOWLAND The Art of Melancholy

Of all the things that could have emerged from last year’s Dowland anniversary, perhaps for many the most devoutly to...

Reviewed by Lindsay Kemp in issue: 07/2014

The Tudors at Prayer

William Mundy’s Vox Patris caelestis is probably his most famous piece (I reviewed The Sixteen’s most recent account in April),...

Reviewed by Fabrice Fitch in issue: 07/2014

Mortale, che pensi?

Lirone player Erin Headley (co-founder of Tragicomedia) now has her own group, Atalante, who here present the third volume of...

Reviewed by David Vickers in issue: 07/2014

Le Jardin de Monsieur Rameau

This follows the pattern of Sabine Devieilhe’s recital ‘Le grand théâtre de l’amour’ (Erato, 2/14) by fashioning a sequence of...

Reviewed by Richard Lawrence in issue: 07/2014

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