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Bach Goldberg Variations

To say that Mortensen is a technically accomplished harpsichordist of considerable vitality isn't really to go very far, since we...

Reviewed by Lionel Salter in issue: 10/1989

Looking on Darkness

The accordion’s stock as a classical instrument has risen by leaps and bounds in recent years. The success of Piazzolla’s...

Reviewed by Guy Rickards in issue: 3/2003

Mahler Symphony No. 3

This is proving to be a searchlight among Mahler cycles – a conductor, Jonathan Nott, and an orchestra, the Bamberg...

Reviewed by Edward Seckerson in issue: 10/2011

Love & Lament

The early Baroque madrigal and its concomitant genres have been dominated by Italian groups in recent years. Theatricality and native...

Reviewed in issue 4/2002

Brahms German Requiem

The most comforting of Requiems has here the most genial of performances. To take the soloists as a first example:...

Reviewed in issue 5/1993

Works for Violin and Orchestra

One may well speculate that the image-makers have given us a slightly misplaced view of Joshua Bell; for, as this...

Reviewed by mjameson in issue: 1/1992

Giordano Fedora

Almost as often as Giordano is written off as a one-opera composer (if that), Fedora is dismissed as a one-tune...

Reviewed by Michael Oliver in issue: 3/1987

Berio Piano Works

Last year was when the recording industry caught up with Luciano Berio – two cycles of Sequenzas (Mode and Naxos,...

Reviewed by Philip_Clark in issue: 5/2007

Presenting Aprile Millo

Following the tips of various US critics, Aprile Millo's promoters are marketing her as the successor to Leontyne Price, the...

Reviewed by hfinch in issue: 10/1986

Shostakovich Prelude and Fugues

Here is, at the very least, a Shostakovich Preludes and Fugues cycle to be reckoned with. Admittedly, it starts none...

Reviewed in issue 6/1999

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