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...
Revered as the Grand Old Man (he was 95) of the classical saxophone, Marcel Mule is shown by this disc...
Reviewed by Lionel Salter in issue: 5/1997
The problem (for there is one) of presenting songs of this kind with satisfactory arrangements and accompaniments finds a novel...
Reviewed in issue 11/1998
In the Symphonic Variations, Crossley avoids Lisztian flamboyance and generalized 'romantic' inflexion and yet there is plenty that is individually...
Reviewed by John Steane in issue: 3/1995
Telarc here simultaneously offers rival versions of Handel’s Water Music; the one from Martin Pearlman and Boston Baroque is completely...
Reviewed by Edward Greenfield in issue: 4/2003
Moscow is a rarity, more so than it deserves to be. The difficulty, of course, is that one city does...
Reviewed by John Warrack in issue: 13/2004
The idea of a record of Mahlerian symphonic fragments has its attractions but possibly more in a planning conference than...
Reviewed by Richard Osborne in issue: 11/1989
The recording dates of the 20 pieces here give an acute sense of the impact Robert Farnon made on the...
Reviewed in issue 4/2002
Prégardien and Staier‚ who have now been musical partners for more than 10 years‚ add to their laurels as interpreters...
Reviewed in issue 1/2002
If ever a disc encapsulated the very essence of Leopold Stokowski's charismatic art, then this is it. Even within the...
Reviewed in issue 11/1994
No doubt with a view to catching the eye of the passing customer, this collection from King's has the title...
Reviewed in issue 12/1984
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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