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Marianne Crebassa: Séguedilles

Marianne Crebassa’s ‘Séguedilles’ has its origins in family history. Her maternal grandparents, she tells us in a booklet note, were...

Reviewed by Tim Ashley in issue: 12/2021

JOSQUIN In Memoria Mea

If you’ve ever caught yourself regretting the uniformity of performance approaches to Renaissance vocal music, this disc may be for...

Reviewed by Fabrice Fitch in issue: 12/2021

Bruce Liu: Chopin

Here is a selection of performances from the various stages of the recent International Chopin Piano Competition played by the...

Reviewed by Jeremy Nicholas in issue: 12/2021

'Round Midnight (Quatuor Ebène)

Fresh from their worldwide tour of Beethoven’s string quartets, the Quatuor Ébène come up with an ambitious project centred on...

Reviewed by Richard Whitehouse in issue: 12/2021

MENDELSSOHN String Quartets, Vol 2 (Doric String Quartet)

The Doric Quartet here conclude in magnificent style the cycle they began in October 2018. The line-up may have changed...

Reviewed by Harriet Smith in issue: 12/2021

Americascapes (Trevino)

Robert Trevino has put together a cleverly varied programme of little-known American orchestral works. Indeed, this is the premiere recording...

Reviewed by Andrew Farach-Colton in issue: 12/2021

MAHLER Symphony No 8 (Jurowski)

Modern listeners tend to take Mahler’s proud claim for the Eighth as his greatest achievement with a soup-spoon of salt....

Reviewed by Peter Quantrill in issue: 12/2021

GUBAIDULINA Dialog: Ich und Du. The Wrath of God. The Light of the End

There is always a spritual dimension to Sofia Gubaidulina’s work, and the violin concerto Dialog: Ich und Du is no...

Reviewed by Ivan Moody in issue: 12/2021

BARTÓK Concerto for Orchestra. Music for Strings, Percussion & Celesta (Mälkki)

Susanna Mälkki’s thrilling sojourn in Duke Bluebeard’s Castle was roundly welcomed by me in the June issue of Gramophone –...

Reviewed by Edward Seckerson in issue: 12/2021

Sabine Devieilhe: Bach. Handel

On the surface there is no recognisable thread that logically ties together the contents of this mouth-watering recital, although the...

Reviewed by Jonathan Freeman-Attwood in issue: 12/2021

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