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BEETHOVEN Symphonies 1 - 4

The Prometheus Overture augurs well, a brightly lit performance, unhurried and nicely shaped with unforced accents. Coriolan on the other...

Reviewed by Rob Cowan in issue: 08/2014

MOZART Symphony No 29 BEETHOVEN Symphony No 1

The opening chord of Beethoven’s finale is echt Klemperer, weighty, incisive, austere, until, after a spell of mock deliberation, the...

Reviewed by Rob Cowan in issue: 08/2014

JS BACH Concertos for Two Harpsichords

The two-keyboard idiom only occasionally catches our attention but when it does it’s always original and telling, be it Bach,...

Reviewed by Jonathan Freeman-Attwood in issue: 08/2014

Vigilate!

It is rare nowadays for the Monteverdi Choir to venture as early as the English Renaissance; and it is equally...

Reviewed by Fabrice Fitch in issue: 08/2014

Inspired by Song

In his last release, ‘The Gentleman’s Flute’ (2/11), Stefan Temmingh focused on the kind of music experienced by the middle-class...

Reviewed by Lindsay Kemp in issue: 08/2014

From Spain to Eternity

Never mind the title: like the Lobo recording from La Grande Chapelle (Lauda, 3/14), this new offering takes its inspiration...

Reviewed by Fabrice Fitch in issue: 08/2014

The Blossoming Vine

The first disc in The Sixteen’s Polish Baroque series explored the mid-17th-century music of Bartłomiej Pękiel (9/13). The second takes...

Reviewed by Alexandra Coghlan in issue: 08/2014

America

This is a...

Reviewed by Peter Dickinson in issue: 08/2014

TURINA Canto a Sevilla

Juanjo Mena and the BBC Philharmonic continue their exploration of the Spanish repertoire with this programme pinpointing Turina’s Andalusian roots....

Reviewed by Geoffrey Norris in issue: 08/2014

STRAUSS Lieder

After Thomas Hampson’s recital disc last month, this will do nicely as a contrasting offering for Strauss’s 150th anniversary. Christiane...

Reviewed by Richard Fairman in issue: 08/2014

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