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GERNSHEIM Violin Concertos

Friedrich Gernsheim (1839-1916) clings to the footnotes of musical history. A child prodigy (at his Frankfurt debut he was the...

Reviewed by Jeremy Nicholas in issue: 01/2016

DUTILLEUX Le Loup

This is my third review of work by Henri Dutilleux in as many months, implying a certain premature zeal on...

Reviewed by Philip Clark in issue: 01/2016

DODERER Symphony No 2. Violin Concerto No 2

While things may have moved on after modernism, writing absolute music as anti-progressive and non-ironic as this still takes guts....

Reviewed by David Gutman in issue: 01/2016

COPLAND Billy the Kid. Rodeo. El Salon Mexico

El Salón México wears well. It made a vivid impression at the ISCM Festival in London in 1938 and brought...

Reviewed by Peter Dickinson in issue: 01/2016

BRUCH Violin Concerto No 1. Serenade. Romance

One couldn’t help wondering, when Jack Liebeck launched his exploration of Bruch’s violin works last year, why he began with...

Reviewed by Hannah Nepil in issue: 01/2016

BRAHMS Symphonies and Overtures

In the heyday of George Szell’s tenure as its chief conductor, The Cleveland Orchestra had few if any peers among...

Reviewed by Richard Osborne in issue: 01/2016

BRAHMS Violin Concertos

On record at least, Brahms’s two piano concertos have long been a largely male preserve. Not so the Violin Concerto,...

Reviewed by Richard Osborne in issue: 01/2016

BEETHOVEN Symphonies Nos 2 & 7

It’s unusual, if not unwelcome, to find a company including a cartoon of one of its conductors in a CD...

Reviewed by Richard Osborne in issue: 01/2016

WF BACH Harpsichord Concertos

Bach’s eldest son, for whom the weight of his father’s inheritance – emotionally and otherwise – contributed to his dispersing...

Reviewed by Jonathan Freeman-Attwood in issue: 01/2016

ZANDONAI Francesca da Rimini

The only work of Riccardo Zandonai’s to maintain a toehold in the repertory, Francesca da Rimini is one of the...

Reviewed by Hugo Shirley in issue: 01/2016

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