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MOZART Violin Sonatas (transcribed for oboe. Olivier Stankiewicz)

Oboists have much for which to be thankful to Mozart. Not only are there a charming concerto and a true...

Reviewed by David Threasher in issue: 08/2021

HINDEMITH Complete Sonatas For Wind Instruments and Piano

Hard on the heels of Les Vents Français’ sparkling selection of five wind sonatas by Hindemith (those for flute, oboe,...

Reviewed by Guy Rickards in issue: 08/2021

COPLAND. PROKOFIEV. POULENC "1942" Violin Sonatas (Benjamin Baker)

Taken on its own terms, this is an extremely good programme: three significant sonatas, all of them born in 1942...

Reviewed by Rob Cowan in issue: 08/2021

John-Henry Crawford: Dialogo

John-Henry Crawford took first prize in the 2019 Carlos Prieto International Cello Competition, and this recording (made very soon thereafter)...

Reviewed by Andrew Farach-Colton in issue: 08/2021

BARDEN Anatomy

Mark Barden’s music pursues a forensic exploration of the instrumental body. In live performance, this can give a theatrical air...

Reviewed by Liam Cagney in issue: 08/2021

JS BACH Sonatas for Viola da Gamba & Harpsichord (Robert Smith)

The title and cover of this album are misleading, for Robert Smith and Francesco Corti have hidden loveliness between the...

Reviewed by Mark Seow in issue: 08/2021

Bomsori: Violin On Stage

Like so many musicians trapped in the midst of the Covid pandemic, the young South Korean violinist Bomsori Kim has...

Reviewed by Rob Cowan in issue: 08/2021

The Brandenburg Project

We take familiar works such as the Brandenburg Concertos for granted, argues Thomas Dausgaard in his booklet note. Other composers...

Reviewed by Andrew Mellor in issue: 08/2021

WEBER Konzertstück. Overtures. Arias (Eschenbach)

The impetus for this recording appears to be that both Der Freischütz and the F minor Konzertstück were posthumously premiered...

Reviewed by Andrew Farach-Colton in issue: 08/2021

VIVALDI Violin Concertos Vol 9 'Le nuove vie' (Boris Begelman)

Vivaldi was such an original and yet so consistent with his language – its punchy rhythms, dynamic contrasts, surprise shifts...

Reviewed by Charlotte Gardner in issue: 08/2021

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