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ELGAR; WALTON Cello Concertos

One of Steven Isserlis’s earliest triumphs in the recording studio was a wonderfully intuitive account of the Elgar Concerto with...

Reviewed in issue 03/2016

Hélène Grimaud: Water

The site-specific collaboration tears become…streams become…, created for New York’s Park Avenue Armory by pianist Hélène Grimaud and artist Douglas...

Reviewed by Jed Distler in issue: 03/2016

Lukas Geniušas: Emancipation of Consonance

The most appealing thing about this disc is its title. Unfortunately that title conceals a misunderstanding. The consonance on display...

Reviewed by David Fanning in issue: 03/2016

Miloš: Blackbird, The Beatles Album

Why review an album of Beatles songs in Gramophone? This magazine has some history with the Sixties band, having reviewed...

Reviewed by David Threasher in issue: 03/2016

ZIPOLI Complete Suites and Partitas

Domenico Zipoli was born in Italy three years after Bach, dying at just 37 in Argentina. If he’s best remembered...

Reviewed by Harriet Smith in issue: 03/2016

YSAŸE Six Sonatas for Solo Violin

In her poetic booklet-notes, Frederieke Saeijs emphasises her affinity with Ysaÿe’s unaccompanied Violin Sonatas. ‘I grew up in The Hague,...

Reviewed by Hannah Nepil in issue: 03/2016

TCHAIKOVSKY The Seasons

Tchaikovsky’s opulent G major Sonata has all too often been seen as inflated and over-long. But in the right hands...

Reviewed by Bryce Morrison in issue: 03/2016

SCHUBERT Works for Four Hands

I didn’t manage to catch Vol 1 of Jan Vermeulen and Veerle Peeters’s Schubert duets series, nor have I heard...

Reviewed by David Threasher in issue: 03/2016

SCHUBERT 8 Impromptus

The sensitivity, tonal refinement and occasional micromanagement typifying Amir Katz’s Chopin Nocturnes, Ballades and Impromptus (Oehms) and Mendelssohn Songs Without...

Reviewed by Jed Distler in issue: 03/2016

Satie Piano Music

Of all the ill-advised and inappropriate strategies to deploy when performing the solo piano music of Erik Satie, pretending that...

Reviewed by Philip Clark in issue: 03/2016

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