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SCHUNCKE Piano Music

Poor old Ludwig Schuncke! He makes Mozart and Schubert seem long-lived, dying of tuberculosis in 1834, two weeks shy of...

Reviewed by Harriet Smith in issue: AW2015

SCHUMANN Davidsbündlertänze. Fantasie. Geisterveriationen

The young British pianist Cordelia Williams turns her attention to Schumann for her latest recording, combining two established masterpieces with...

Reviewed by Harriet Smith in issue: AW2015

PASQUINI Suites and Variations

Bernardo Pasquini (1637-1710) is a shadowy one all right. A contemporary in Rome of Corelli and Alessandro Scarlatti, he mixed...

Reviewed by Lindsay Kemp in issue: AW2015

LISZT Meyerbeer Opera Transcriptions

Volume 40 of Naxos’s complete piano music of Liszt usefully combines all but one of the major solo Meyerbeer transcriptions....

Reviewed by Jeremy Nicholas in issue: AW2015

GINASTERA Milonga. Piano Sonata 1. 3 Pieces

François-Xavier Poizat, a 26-year-old French-Swiss pianist, could hardly have produced a more dazzling tribute to Ginastera, Argentina’s foremost composer. He...

Reviewed by Bryce Morrison in issue: AW2015

CHOPIN 24 Preludes

In the past 12 months alone these pages have noted new recordings of Chopin’s Preludes by Ingrid Fliter, Daniel Trifonov,...

Reviewed by Jeremy Nicholas in issue: AW2015

Maria Perrotta Plays Chopin

Maria Perrotta offers a richly comprehensive and demanding live Chopin programme on her new disc from Italian Decca. For one...

Reviewed by Bryce Morrison in issue: AW2015

BEETHOVEN Eroica Variations. Piano Sonatas Nos 8 & 23

Beethoven introduces his Eroica Variations with the theme’s bare-boned architectural essence. Konstantin Scherbakov, however, can’t help but embellish the foundation...

Reviewed by Jed Distler in issue: AW2015

BEETHOVEN Diabelli Variations plus variations by others

Anton Diabelli’s call to ‘The Foremost Tone Poets and Virtuosi of Vienna and the Austrian States’ each to write a...

Reviewed by Jed Distler in issue: AW2015

JS BACH Six Solo Cello Suites, BWV1007-1012

From the first open G string of the first Prelude, the persona of Philip Higham’s performance of the Bach Cello...

Reviewed by Caroline Gill in issue: AW2015

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