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 'young Lord' is an ape, disguised as an English aristocrat and introduced into a smug early-nineteenth-century German community to...
Reviewed by Arnold Whittall in issue: 9/1994
The Seven Last Words were not arranged for piano by Haydn but were fully approved by him. John McCabe –...
Reviewed by Nalen Anthoni in issue: 7/2004
Sally Beamish explains that Beethoven’s Op 18 No 4 gave her, at 14, her first experience of quartet playing. So...
Reviewed by Arnold Whittall in issue: 2/2006
The Second Symphony has always been well served on record and so it is here by the doyen of Finnish...
Reviewed by Robert Layton in issue: 9/1988
This is Richter’s first recording of the grandest of Mozart’s piano concertos and is therefore of special interest. All the...
Reviewed by Bryce Morrison in issue: 8/1996
The notion of the encore sits somewhat uneasily with the traditional string quartet repertoire; but judiciously handled it may offer...
Reviewed in issue 4/1992
Here is further evidence that Bruckner was a real composer long before he discovered Wagner. The superb Requiem of 1849...
Reviewed in issue 12/1991
Sir Colin Davis's magnificent Amsterdam Dvorak Seventh remains one of the most compellingly taut available: gloriously played and paced to...
Reviewed by Andrew Achenbach in issue: 8/1993
Of all the rediscoveries of 'ancient music' this century, the vesper settings by Monteverdi have probably been most rapidly assimilated...
Reviewed by Tess Knighton in issue: 2/1990
The multifarious pulsings of Adams’s Phrygian Gates (all 26 minutes of it) are more palatable here than on some rival...
Reviewed in issue 3/1999
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
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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