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...
Gramophone readers should demand the answers to two questions in a review of any new recording of Mahler’s Sixth. To...
Reviewed in issue 03/2012
Here, like some valedictory blessing on the Liszt year, are tributes that would surely have brought tears of gratitude from...
Reviewed by Bryce Morrison in issue: 03/2012
To hear Handel’s complete first book of suites played on the piano is a comparative rarity (among the few available...
Reviewed in issue 03/2012
The auspices are good even before you press the play button: Hyperion, Potton Hall, Ben Connellan (recording engineer), Jeremy Hayes...
Reviewed in issue 03/2012
Having marvelled at Maya Homburger’s final instalment of Bach’s Solo Sonatas and Partitas so recently (2/12), I find myself ever...
Reviewed in issue 03/2012
When I started scribing for a now defunct double bass magazine many years ago, frankly I needed the cash; but...
Reviewed in issue 03/2012
Only Galina Ustvolskaya could have scored a composition for eight double basses, wooden block and piano; only Galina Ustvolskaya could...
Reviewed in issue 03/2012
Les Esprits Animaux are a new chamber group formed in 2009 among postgraduate students at the Royal Conservatory of The...
Reviewed by Luca Da Re in issue: 03/2012
Though the booklet-note writer declares that between Stravinsky and Shostakovich there is a ‘disparity in the conception of musical art...
Reviewed in issue 03/2012
No disarming benevolence here. It is disquieting business as usual for Duo Amadè. They are closely recorded, probably accentuating the...
Reviewed by Nalen Anthoni in issue: 03/2012
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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