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...
For a generation of opera-goers, Callas was Norma, and nobody since has come near challenging her hegemony in a role...
Reviewed by Alan Blyth in issue: 3/1986
Reading Harmonia Mundi’s accompanying sleeve, expectations are raised high. Alain Planès’s 1902 Blüthner instrument has a ‘warm and romantic tone’...
Reviewed by Bryce Morrison in issue: 7/2006
This is music from a journey. Equally, it is music for a journey and one which notably depicts phases of...
Reviewed by kshadwick in issue: 4/1994
A mixed bag. The 1939 Egmont is given a magnificently fiery, ardent performance, but the 1945 Leonore No. 3 is...
Reviewed in issue 11/1992
Brian Blyth Daubney is the composer of some 200 songs, and of the 30 recorded here, 18 are said to...
Reviewed by John Steane in issue: 11/2006
Liszt’s relatively small output of chamber music is, like the majority of what he wrote, rarely programmed in the concert...
Reviewed by Jeremy Nicholas in issue: 11/2011
This could be termed 'the record of the concert' because this duo played precisely these works in the same order...
Reviewed by Alan Blyth in issue: 1/1989
For many years musicians have appropriated Bach’s six organ Trio Sonatas (BWV525-30) for performance on a variety of melody instruments...
Reviewed by Nicholas Anderson in issue: 9/1996
Emma Kirkby’s enormous and diverse discography as consort member, soloist or recitalist ranges from Hildegard to Haydn and, just having...
Reviewed by David Vickers in issue: 5/2011
There is little that is unusual in the content of the programme; what is unusual is the standard of its...
Reviewed by John Duarte in issue: 2/2000
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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