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Four Visions of France: Fauré, Honegger, Lalo, Saint-Saëns Cello Concertos (Daniel Müller-Schott)

Saint-Saëns’s First Cello Concerto is often seen as something of a Cinderella opus, forever in the shadow of the Dvořák...

Reviewed by Mark Pullinger in issue: AW21

VASKS Oboe Concerto. Lauda (Albrecht Mayer)

A lot changed in Latvia between the early 1980s and the late 2010s. So, therefore, did the music of the...

Reviewed by Andrew Mellor in issue: AW21

STRAUSS Don Quixote. Till Eulenspiegel (Roth)

As I noted in my recent Collection on Strauss’s Don Quixote (7/21), one of the main decisions to be made...

Reviewed by Hugo Shirley in issue: AW21

STRAUSS Eine Alpensinfonie (Jurowski)

Only four years after the release of his thrilling live LPO recording of Strauss’s Alpensinfonie, here comes Vladimir Jurowski with...

Reviewed by Hugo Shirley in issue: AW21

RACHMANINOV Symphony No 2 (Ticciati)

This is very much in keeping with the impression I have always had of Robin Ticciati’s work: exhaustively prepared, immaculately...

Reviewed by Edward Seckerson in issue: AW21

POULENC Double Concerto SAINT-SAËNS Le carnaval des animaux (Leguay)

This is a album of great charm, though it’s very much aimed at a French-speaking audience, which inevitably will limit...

Reviewed by Tim Ashley in issue: AW21

Karen Gomyo: A Piazzolla Trilogy

Unlike many classical performers who enjoy a brief dalliance with Piazzolla’s music, the violinist Karen Gomyo seems to be in...

Reviewed by Andrew Farach-Colton in issue: AW21

PÄRT Tabula Rasa (Renaud Capuçon)

It’s difficult in many ways to come up with anything but lyrical adjectives when confronted with playing of this quality....

Reviewed by Ivan Moody in issue: AW21

NØRGÅRD; SAARIAHO 'Remembering' Cello Concertos (Jakob Kullberg)

Aleksi Barrière’s booklet introduction refers to the concerto as ‘a musical dramatisation of the encounter of an individual soloist with...

Reviewed by Andrew Mellor in issue: AW21

MOZART Symphonies Nos 39, 40 & 41 (Manacorda)

An energetic trio of performances that lends credence to Nikolaus Harnoncourt’s notion concerning Mozart’s last three symphonies, that they were...

Reviewed by Rob Cowan in issue: AW21

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