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PROKOFIEV Piano Sonata No 4 RAVEL Le tombeau de Couperin (Milstein)

Reviewing debut discs can be hazardous in the light of later developments. The first Gramophone review of Argerich, for instance,...

Reviewed by Michelle Assay in issue: 06/2018

Argerich and Babyan: Prokofiev for Two

The Romeo and Juliet transcriptions here are no mere scaling-up of the Ten Pieces Prokofiev himself produced for solo piano....

Reviewed by David Fanning in issue: 06/2018

Caspar Vos: Ego

How refreshing to find a pianist choosing Medtner for his debut CD. And this is clearly no casual decision, for...

Reviewed by Harriet Smith in issue: 06/2018

LISZT Piano Works (Lucille Chung)

Lucille Chung, the Canadian pianist whose previous recordings have included Scriabin, Poulenc and Ligeti, has now turned to Liszt, with...

Reviewed by Patrick Rucker in issue: 06/2018

GULDA Piano Woks (Jones)

Friedrich Gulda’s jazz and pop persona didn’t always sit well with critics and fans who wished he’d simply focus on...

Reviewed by Jed Distler in issue: 06/2018

BEETHOVEN Piano Sonatas Nos 5, 6, 7 & 10 (James Brawn)

As his Beethoven sonata cycle progresses, James Brawn’s lean, dry-point style seems more comfortable in its own skin, with less...

Reviewed by Jed Distler in issue: 06/2018

JS BACH The Complete Works for Keyboard, Vol 1 – The Young Heir (Alard)

The first instalment of Benjamin Alard’s projected complete keyboard works of JS Bach is entirely auspicious. Subtitled ‘The Young Heir’,...

Reviewed by Philip Kennicott in issue: 06/2018

JS BACH Goldberg Variations (Peter Hill)

Given the assertive profile distinguishing Peter Hill’s 20th- century music interpretations (Messiaen, Stravinsky, the Second Viennese School), his recordings of...

Reviewed by Jed Distler in issue: 06/2018

ZEMLINKSY A Florentine Tragedy

Zemlinsky’s Eine florentinische Tragödie, completed in 1916, may not have the despairing intensity that distinguishes his subsequent opera, Der Zwerg,...

Reviewed by Christian Hoskins in issue: 06/2018

VERDI Luisa Miller (Repušić)

Based on concert performances in Munich last year, this is serious, spirited Verdi that nonetheless isn’t going to push either...

Reviewed by Neil Fisher in issue: 06/2018

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