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...
Like many others, I was hugely impressed by Elliot Goldenthal’s score for Neil Jordan’s The Butcher Boy earlier this year,...
Reviewed by Andrew Achenbach in issue: 9/1998
This is a fine collection of Schutz’s psalm settings, but best not listened to at one sitting, since the variety...
Reviewed in issue 3/1997
“A legend in its time” and an occasion still discussed and mulled over, “almost as if it happened yesterday”, trumpets...
Reviewed by Bryce Morrison in issue: 12/1998
Composed in 1898-99, Amy Beach’s ambitious, singularly impressive Piano Concerto is at long last coming in from the cold. An...
Reviewed by Andrew Achenbach in issue: 6/2003
Taking the six in order, the first is the first to strike off the list. Its principal attraction, one imagines,...
Reviewed by John Steane in issue: 12/2002
Whatever reservations one may have about Gigli in Verdi, he is surely the non pareil among tenors in his Puccini...
Reviewed by John Steane in issue: 11/2002
Here are two of the more unusual yet also more welcome releases for Shostakovich’s centenary year. His gleeful music for...
Reviewed by David Fanning in issue: 9/2006
Readers of a nervous disposition regarding Allan Pettersson’s music should start this disc with the Four Improvisations (1936). The opening’s...
Reviewed in issue 1/1996
For sheer beauty of sound, this recording is unsurpassed. Westminster Cathedral Choir has realized to the full the hopes of...
Reviewed by mberry in issue: 11/1999
Here is Marc-Andre Hamelin off the leash, free to explore familiar as well as unfamiliar musical territory. Port-Royal’s superb release...
Reviewed in issue 7/2001
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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