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DVOŘÁK Symphony No 2. The Golden Spinning-Wheel (Bosch)

To complete their Dvořák symphony cycle, Marcus Bosch and the Staatsphilharmonie Nürnberg turn their attention to the Second. In his...

Reviewed by Mark Pullinger in issue: 08/2018

BRUCKNER Symphonies Nos 1 & 3 (Gergiev)

These new recordings in Gergiev’s Bruckner series derive from a single concert given in the monastery of St Florian. When...

Reviewed by Christian Hoskins in issue: 08/2018

BEETHOVEN Piano Concerto No 4 MENDELSSOHN Double Concerto

There’s no denying the precocity of this Double Concerto, written when Mendelssohn was just 14. Yet for all its flashes...

Reviewed by Andrew Farach-Colton in issue: 08/2018

BEETHOVEN Piano Concerto (Lazić)

Muzio Clementi and Johann Baptist (John) Cramer have much in common. Each was considered a leading virtuoso, each composed teaching...

Reviewed by Jed Distler in issue: 08/2018

KODÁLY; BARTÓK Concertos for Orchestra (Hrůša)

Here’s a pairing rarely made on disc, yet they are natural partners: two Concertos for Orchestra by Hungarian composers, each...

Reviewed by Mark Pullinger in issue: 08/2018

JS BACH Violin Concertos (Lozakovich)

In many respects this is a quite exceptional programme. I love the way Daniel Lozakovich marks every little harmonic twist...

Reviewed by Rob Cowan in issue: 08/2018

ADAMS Naive and Sentimental Music. Absolute Jest.

One need only recall the impressive 2013 recording of the Doctor Atomic Symphony and the mighty Harmonielehre to realise that...

Reviewed by Patrick Rucker in issue: 08/2018

Mozart in London

Ian Page and the Classical Opera Company (since rechristened The Mozartists for concerts) launched their epic project ‘Mozart 250’ with...

Reviewed by David Vickers in issue: 07/2018

MAHLER Symphony No 5 (Fischer)

Adam Fischer’s kinship with this music seems to grow exponentially with each successive instalment of what is already proving an...

Reviewed by Edward Seckerson in issue: 07/2018

RACHMANINOV Piano Concerto No 3 (Boris Giltburg)

Sometimes the reputation of a piece of music becomes so ensconced that the music itself is enshrouded, infected by hearsay...

Reviewed by Patrick Rucker in issue: 07/2018

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