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STEINBERG Passion Week RIMSKY-KORSAKOV Chants

This important and exciting release from the Portland, Oregon-based 26-strong chamber choir is a notable successor to their ‘Good Friday...

Reviewed by Malcolm Riley in issue: 08/2015

SCHOENBERG Gurrelieder

This new Gurrelieder, a follow-up in some ways to Hyperion’s well-received disc of Strauss tone-poems with the Gürzenich Orchestra (5/13),...

Reviewed by Hugo Shirley in issue: 08/2015

H, J & M PRAETORIUS Vocal Works

The young Spanish conductor Pablo Heras-Casado has established himself as one to watch in a series of impressive performances, recordings...

Reviewed by Alexandra Coghlan in issue: 08/2015

PÄRT Babel

The origins of the Innsbruck-based Wilten Boys’ Choir stretch back to the 13th century. Their director since 1991 has been...

Reviewed by Malcolm Riley in issue: 08/2015

MAHLER Rückert-Lieder. Kindertotenlieder SCHOENBERG Lieder Op 2

This second Onyx disc from Anne Schwanewilms follows on from a recital of songs by Liszt and Mahler (3/13) but...

Reviewed by Hugo Shirley in issue: 08/2015

LASSUS Missa super Dixit Joseph

Rather like their Hyperion stablemates The Brabant Ensemble, Cinquecento make a speciality of championing lesser-known 16th-century composers. On this occasion,...

Reviewed by Fabrice Fitch in issue: 08/2015

KOWALSKI Lieder

A Frankfurt-based copyright lawyer and synagogue cantor, Max Kowalski (1882-1956) was a part-time composer of songs – over 200 in...

Reviewed by Tim Ashley in issue: 08/2015

DENYER Riverine Delusions. Two Voices. Whispers

Until reaching the climactic summit of Riverine Delusions – where bass drum thwacks overpower the remainder of the ensemble –...

Reviewed by Philip Clark in issue: 08/2015

COMPÉRE Magnificat, motets & chansons

For their second recording of the music of Loÿset Compère (their first was over twenty years ago – Metronome, 6/94),...

Reviewed by Fabrice Fitch in issue: 08/2015

CAGE Aria. Ryoanji

In her magnificent recent biography of Charlotte Moorman – the New York cellist who moulded modern composition towards sexualised performance...

Reviewed by Philip Clark in issue: 08/2015

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