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BRAHMS Violin Sonatas (Ibragimova, Tiberghien)

Alina Ibragimova’s quiet playing is perhaps the most arresting feature of these performances, especially as she and Cédric Tiberghien are...

Reviewed by Andrew Farach-Colton in issue: 10/2019

Quasi morendo

In this typically provocative compilation, ECM producer Manfred Eicher doesn’t simply present a sequence of three separate, well-contrasted compositions: rather,...

Reviewed by Arnold Whittall in issue: 10/2019

The Tchaikovsky Project (Complete)

Now we have the complete portrait, as it were, of Tchaikovsky through the eyes of Semyon Bychkov, many of the...

Reviewed by Edward Seckerson in issue: 10/2019

Verbier Festival: 25th Anniversary Concert

The home viewer of this Rheingold-length gala enjoys certain advantages over the blinged-up patrons who packed the plastic hothouse of...

Reviewed by Peter Quantrill in issue: 10/2019

Bach & Co

If you regard yourself as a fairly seasoned and knowledgeable listener of Baroque music, then you may find the premise...

Reviewed by Charlotte Gardner in issue: 10/2019

20th Century Harpsichord Concertos (Vinikour)

If you’re looking for compelling contemporary harpsichord concertos beyond the usual suspects (Falla, Poulenc, Martin≤) in outstanding, superbly engineered performances,...

Reviewed by Jed Distler in issue: 10/2019

TABAKOV Symphony No 5. Concerto for Double Bass

Outside his native Bulgaria, Emil Tabakov (b1947) is perhaps best known for his recordings with the Sofia Philharmonic Orchestra in...

Reviewed by Christian Hoskins in issue: 10/2019

STANFORD A Song of Agincourt. Fairy Day

Completed in December 1903, Stanford’s impressive Overture in the Style of a Tragedy had to wait nearly 107 years for...

Reviewed by Andrew Achenbach in issue: 10/2019

MYASKOVSKY Symphonies Nos 1 & 13 (Rudin)

Alexander Rudin, a distinguished exponent of Myaskovsky’s Cello Concerto and his sonatas for the same instrument (Cello Classics), is also...

Reviewed by David Gutman in issue: 10/2019

MAHLER Symphony No 1 (Vänskä)

It may well be that more of the score is audible here than ever before. What’s lacking is less easily...

Reviewed by David Gutman in issue: 10/2019

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