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KALKBRENNER Piano Concertos Nos 2 & 3

Friedrich (Frédéric) Wilhelm Michael Kalkbrenner (1785-1849) is remembered – if at all – as the figure who famously offered to...

Reviewed by Harriet Smith in issue: 05/2012

HEROLD 4 Concertos for Piano and Orchestra

Despite the implausible name of the booklet writer, C Content, I am not at all happy with the rudimentary liner-notes...

Reviewed by Jeremy Nicholas in issue: 05/2012

HAYDN Violin Concertos Hob VIIa, Nos 1-3

Haydn’s concertos do not count among his most popular works and it’s perhaps not difficult to see why. Composed during...

Reviewed by David Threasher in issue: 05/2012

HAYDN Symphonies Nos 90 & 92

Familiar feelings of anticipation and trepidation on unwrapping the latest recording from Thomas Fey quickly turned to dread on remembering...

Reviewed by David Threasher in issue: 05/2012

GUBAIDULINA Orchestral Music

Sofia Gubaidulina’s music ranges wide, often beyond conventional instruments and instrumental groupings, and plunges deep, both technically and into ideas...

Reviewed by John Warrack in issue: 05/2012

GERSHWIN Piano Concerto. Rhapsody No 2

If we have to have yet another recording of Gershwin’s Piano Concerto, there are things to admire in this one....

Reviewed by Peter Dickinson in issue: 05/2012

FALLA Nights in the Gardens; El sombrero de tres picos

As Chandos’s informative and evocative notes tell us, we have Grieg (an unlikely source, though, like Falla, a devoted nationalist)...

Reviewed by Bryce Morrison in issue: 05/2012

DVOŘÁK Concerto for Cello and Orchestra Op.104

Dvořák wrote his masterly Cello Concerto in 1894-95, at the end of his American period, during which he was director...

Reviewed by Ivan March in issue: 05/2012

DVOŘÁK Symphony No 9 'From the New World'

When it comes to conducting Dvořák, José Serebrier isn’t afraid to get mud on his boots: he’s out there in...

Reviewed by Rob Cowan in issue: 05/2012

BRUCKNER Symphony No 9

If you can take the opening of the third-movement Adagio, you’ll likely appreciate the rest. Up swoop the strings, then...

Reviewed by Rob Cowan in issue: 05/2012

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