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RESPIGHI Pini di Roma. Impressioni brasiliane. Belkis, regina di Saba (Crudele)

As my recent Collection (3/22) demonstrated, we’re not exactly short of recordings of Respighi’s Pines of Rome. Most of them...

Reviewed by Mark Pullinger in issue: 09/2022

REICH Reich/Richter

Although Steve Reich’s music is often compared with the visual paintings and sculptures of like-minded artists such as Sol LeWitt,...

Reviewed by Pwyll ap Siôn in issue: 09/2022

MESSIAEN Oiseaux Exotiques RAVEL Piano Concerto SCHOENBERG Piano Concerto (Francesco Piemontesi)

Whether or not these three iconic 20th-century piano-orchestral masterpieces have previously appeared together on a single CD, it’s a wonderful...

Reviewed by Jed Distler in issue: 09/2022

KOECHLIN The Seven Stars' Symphony (Matiakh)

Koechlin wrote his Seven Stars’ Symphony after belatedly seeing his first film, The Blue Angel, in 1933 at the age...

Reviewed by Christian Hoskins in issue: 09/2022

'Haydn 2032, Vol 12: Les jeux et les plaisirs'

Giovanni Antonini alights upon three symphonies from the mid-1770s, a period during which opera was coming to occupy more of...

Reviewed by David Threasher in issue: 09/2022

HARTMANN Orchestral Music

If only Thomas de Hartmann’s music was as consistently engrossing as his biography. A Ukrainian-born aristocrat, student of Arensky and...

Reviewed by Andrew Farach-Colton in issue: 09/2022

GLUCK Don Juan. Sémiramis (Savall)

Gluck’s record as a reformer doesn’t apply only to opera. In 1761, a year before Orfeo ed Euridice, he was...

Reviewed by Lindsay Kemp in issue: 09/2022

BEETHOVEN The Symphonies (Nézet-Séguin)

Keen listeners to the Mozart/da Ponte, Schumann and Mendelssohn cycles from Nézet-Séguin and the COE will find much to enjoy...

Reviewed by Peter Quantrill in issue: 09/2022

JS BACH Keyboard Concertos (Andrew Arthur)

An enjoyably no-nonsense kind of playing makes the opening movement of Bach’s Concerto in D minor, BWV1052, extremely striking. Soloist...

Reviewed by Mark Seow in issue: 09/2022

MAHLER Symphony No 4 (Roth)

I absolutely adored this performance. No equivocation. Hearing the music as Mahler might have heard it – and indeed imagined...

Reviewed by Edward Seckerson in issue: 09/2022

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