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COUPERIN Ariane consolée par Bacchus

Here, for the first time, we can hear what appears to be a lost cantata by François Couperin. Numerous of...

Reviewed by Julie Anne Sadie in issue: 12/2016

Goerner plays Nowakowski & Krogulski

Józef Nowakowski (1800 65) and Józef Krogulski (1815 42). Even in their native Poland their names are hardly known. On...

Reviewed by Jeremy Nicholas in issue: 12/2016

VIVALDI The Four Seasons R PANUFNIK Four World Seasons

‘I am not a Baroque player’, says Tasmin Little, and there’s nothing like laying your cards right out on the...

Reviewed by Richard Bratby in issue: 12/2016

VIVALDI Concertos for 2 Violins

When there are so many recordings of Vivaldi concertos to choose from, how do you know where to start? When...

Reviewed by Lindsay Kemp in issue: 12/2016

DVOŘÁK Slavonic Dances Opp 46 & 72

In my experience it’s fairly rare that conductors who excel in Dvořák’s first set of Slavonic Dances are quite as...

Reviewed by Rob Cowan in issue: 12/2016

ADAMS; HARRIS Violin Concertos

John Adams coined the term ‘hypermelody’ to describe the solo part of his 1993 Violin Concerto, where ‘the violin spins...

Reviewed by Andrew Farach-Colton in issue: 12/2016

BEETHOVEN Piano Sonatas Nos 22-32 (Bavouzet)

Here is the concluding instalment – Volume 3 – of Jean-Efflam Bavouzet’s chronological journey through the 32 Beethoven sonatas, a...

Reviewed by Stephen Plaistow in issue: 12/2016

Marianne Crebassa: Oh, Boy!

'Oh, Boy!’ is Marianne Crebassa’s first album since she signed for Erato earlier this year. The French mezzo, who caused...

Reviewed by Tim Ashley in issue: 12/2016

Molière at the Opera

This excellent exploration of the relationship between Lully and Molière derives from a stage show first seen in Reims last...

Reviewed by Tim Ashley in issue: 12/2016

WAGNER Die Walküre - Act 1

Die Walküre’s popular but tricky First Act feels like an action piece because of its hectic beginning and ending. Yet...

Reviewed by Mike Ashman in issue: 12/2016

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