Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
The American tenor Timothy Fallon first came to the attention of UK audiences when he won the Wigmore Hall/Kohn Foundation...
Reviewed by Tim Ashley in issue: 04/2017
Success is a double-edged sword. Become composer-in-residence of a popular classical radio station, feted by the masses and commissioned by...
Reviewed by Pwyll ap Siôn in issue: 04/2017
After hearing Rossini’s Stabat mater, the French writer Théophile Gautier remarked, approvingly, that Italian church music was ‘toujours en fête’....
Reviewed by Richard Wigmore in issue: 04/2017
The Norwegian mezzo Bettina Smith collaborates here with her compatriot, pianist Einar Røttingen, on a fine if shortish programme of...
Reviewed by Tim Ashley in issue: 04/2017
Those steeped in the finest lineages of the French Baroque acknowledge Clérambault as a master of the keyboard and a...
Reviewed by Jonathan Freeman-Attwood in issue: 04/2017
For the past 45 years the benchmark recording of Bach’s St John Passion sung in English has been that conducted...
Reviewed by Malcolm Riley in issue: 04/2017
The filming of this B minor Mass operates under some confusion as to whether the music is there to illustrate...
Reviewed by Peter Quantrill in issue: 04/2017
Few contemporary composers are harder to pin down than Andreas Baksa (1950 2016). Too easily confused with the American composer...
Reviewed by Hannah Nepil in issue:
At first, this looks like a random collection of overtures, preludes and intermezzos gathered by Riccardo Chailly, mixing the familiar...
Reviewed by Mark Pullinger in issue: 04/2017
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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