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Miloš Karadaglić: The Sound of Silence

The guitar is a two-headed beast. In its civilised, classical form it is the instrument of the concert hall. Yet...

Reviewed by Pwyll ap Siôn in issue: 10/2019

Silk Baroque

To borrow from the psychologist James J Gibson, our eyes are on ‘the head on the shoulders of a body...

Reviewed by Mark Seow in issue: 09/2019

The Leipzig Circle Vol 1

It’s an attractive idea: a programme of chamber music by four mutual friends, Robert and Clara Schumann and Fanny and...

Reviewed by Richard Bratby in issue: 10/2019

VIVALDI Complete Concertos and Sinfonias for Strings and Basso continuo

In 1739 a Frenchman, Charles de Brosses, wrote from Venice: ‘Here they have a form of music that we know...

Reviewed by Charlotte Gardner in issue: 10/2019

SIMPSON Remembered Music

Now in his early sixties, Nicholas Simpson studied composition during the 1980s with John Tavener at Trinity College, London. However,...

Reviewed by Pwyll ap Siôn in issue: 10/2019

NØRGÅRD Whirl's World

It’s a mistake to consider Per Nørgård a dogmatic composer and this release proves it in style, placing some of...

Reviewed by Andrew Mellor in issue: 10/2019

DENNEHY Surface Tension. Disposable Dissonance

Donnacha Dennehy’s arrival as a composer in the late 1990s heralded what was dubbed the new Irish classical. Often performed...

Reviewed by Liam Cagney in issue: 10/2019

DANDRIEU; CORELLI Sonatas

Le Consort’s decision to record these six sonatas by Jean-François Dandrieu, an obscure 18th-century French composer best known for his...

Reviewed by Mark Seow in issue: 10/2019

RAVEL; CHAUSSON Piano Trios (Vienna Piano Trio)

The Vienna Piano Trio already have a live recording of Ravel’s masterpiece in their portfolio (also for MDG, from 2011)....

Reviewed by Michelle Assay in issue: 10/2019

BRAHMS; BRUCH; SCHUBERT Trios

The canon is dead, we’re told. And yet week in, week out, they keep coming: new recordings of supposed warhorses...

Reviewed by Richard Bratby in issue: 10/2019

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