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HAYDN The Seven Last Words of Christ

Neither quill nor leather-covered hammer vibrates a string. Rather a wooden slip does duty for a tangent piano, its strident...

Reviewed by Nalen Anthoni in issue: 09/2014

HAYDN The London Sonatas

There’s something about Gottlieb Wallisch’s stern and spiky reading of the Haydn E flat Sonata, No 59 (old No 49),...

Reviewed by Jed Distler in issue: 09/2014

DEBUSSY Preludes Book 2

Attractively entitled ‘Beau soir’, Michael Lewin’s recital opens with an arrangement by Koji Attwood of one of Debussy’s earliest songs....

Reviewed by Bryce Morrison in issue: 09/2014

JS BACH Leipzig and Schübler Chorales

While there is no evidence to suggest that Kåre Nordstoga is embarking on a complete Bach series, his second two-CD...

Reviewed by Jonathan Freeman-Attwood in issue: 09/2014

BACH The Art of Fugue

In his debut...

Reviewed by Jed Distler in issue: 09/2014

ALKAN Vianna da Motta Transcriptions

I have yet to come across a masterpiece for the pedal piano (Schumann’s Op 56 being an arguable exception) but...

Reviewed by Jeremy Nicholas in issue: 09/2014

ZAMPONI Ulisse all’Isola di Circe

During the 1640s, Giuseppe (or Gioseffo) Zamponi became director of chamber music for the Spanish governor-general of the Low Countries,...

Reviewed by David Vickers in issue: 09/2014

WAGNER Arias and Excerpts

It is less than a decade since James Rutherford won the inaugural Seattle Opera International Wagner competition but he has...

Reviewed by Richard Fairman in issue: 09/2014

VERDI Otello

After performances of Aida in front of the pyramids and Peter Grimes on the beach at Aldeburgh, it is perhaps...

Reviewed by Richard Fairman in issue: 09/2014

STRAUSS Elektra

For many, the German soprano Evelyn Herlitzius is today’s finest Elektra. And the record companies seem to agree: these two...

Reviewed in issue 09/2014

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