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...
The accordion’s stock as a classical instrument has risen by leaps and bounds in recent years. The success of Piazzolla’s...
Reviewed by Guy Rickards in issue: 3/2003
This is proving to be a searchlight among Mahler cycles – a conductor, Jonathan Nott, and an orchestra, the Bamberg...
Reviewed by Edward Seckerson in issue: 10/2011
The early Baroque madrigal and its concomitant genres have been dominated by Italian groups in recent years. Theatricality and native...
Reviewed in issue 4/2002
The most comforting of Requiems has here the most genial of performances. To take the soloists as a first example:...
Reviewed in issue 5/1993
One may well speculate that the image-makers have given us a slightly misplaced view of Joshua Bell; for, as this...
Reviewed by mjameson in issue: 1/1992
Almost as often as Giordano is written off as a one-opera composer (if that), Fedora is dismissed as a one-tune...
Reviewed by Michael Oliver in issue: 3/1987
Last year was when the recording industry caught up with Luciano Berio – two cycles of Sequenzas (Mode and Naxos,...
Reviewed by Philip_Clark in issue: 5/2007
Following the tips of various US critics, Aprile Millo's promoters are marketing her as the successor to Leontyne Price, the...
Reviewed by hfinch in issue: 10/1986
Here is, at the very least, a Shostakovich Preludes and Fugues cycle to be reckoned with. Admittedly, it starts none...
Reviewed in issue 6/1999
This four-CD reissue of Nadia Reisenberg’s Chopin, recorded for Westminster between 1947 and 1957, also includes a live and fearless...
Reviewed by Bryce Morrison in issue: 1/2009
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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