Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
All three of these players offer a particularly good performance of the E flat Concerto, K449, a work which often...
Reviewed by Stephen Plaistow in issue: 2/1989
Listening to this selection of scores from one of 20th-century music’s also-rans, I was reminded of Diaghilev’s advice to the...
Reviewed by David Gutman in issue: 12/2000
It is good to have these two quartets back in the catalogue. They are not among Dvorak's most popular, but...
Reviewed by John Warrack in issue: 5/1990
One of the most enjoyable “gems from” Handel discs in recent years was “Amor e gelosia”, a recital of duets...
Reviewed by Richard Lawrence in issue: 1/2009
You can, of course, buy CDs of Die Entfuhrung and Don Giovanni. I say that because the whole point of...
Reviewed by Stanley Sadie in issue: 11/1990
The Tortelier and Heidsieck Beethoven cello sonatas have been digitally remastered, and their refinement, mischief and, above all, fine sense...
Reviewed by hfinch in issue: 2/1987
First thought – perhaps prompted by the previous night’s London recital in which the allowance was four songs, seven arias...
Reviewed by John Steane in issue: 3/2004
This recording could easily be dismissed on one listening as a sub-Argo collection of vaguely fashionable names. In fact, Haram’s...
Reviewed by rthomas in issue: 10/1999
This is a long way from the accessible Feldman of the film music (Kairos, 3/03) or from the fourth and...
Reviewed by Peter Dickinson in issue: 7/2003
Here is the intriguing situation of a small independent company—Biddulph—using out-of-copyright EMI material being challenged directly in an identical programme...
Reviewed in issue 4/1991
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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