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...
Shchedrin’s 2002 “opera for the concert stage” tells, in highly condensed form, Leskov’s story of the archetypal Russian life (actually...
Reviewed by David Fanning in issue: 7/2010
Former soloist in the Vienna Boys’ Choir, Arno Raunig has kept and developed his soprano voice with an easy range...
Reviewed in issue 11/1998
Not even the devoted efforts of Falla’s pupil Ernesto Halffter could succeed – despite putting together two distinct versions –...
Reviewed by Lionel Salter in issue: 1/1997
The insert booklet's statement that the viola d'amore ''appeared as a solo instrument in six of his [Vivaldi's] concertos'' is...
Reviewed by John Duarte in issue: 2/1987
This music certainly benefits from being heard on original instruments. The sound of the Christopher Clarke copy of a 1795...
Reviewed by DuncanDruce in issue: 3/2000
No sooner had I welcomed Doris Lederer’s supple account of Bax’s Viola Sonata with Jane Coop than along comes a...
Reviewed by Andrew Achenbach in issue: 1/2007
Vladimir Ashkenazy’s indefatigable enthusiasm for making music has latterly embraced unexpected corners of the repertoire and collaborations with orchestras and...
Reviewed by David Gutman in issue: 5/2009
I have long been – somewhat unfashionably, I suspect – an admirer of Alfredo Casella’s music (if not the man...
Reviewed by Guy Rickards in issue: 13/2010
The fourth cycle of cantatas, which constituted Vols 19 and 20, marked the end of Bach’s systematic liturgical ambitions. That...
Reviewed by Jonathan Freeman-Attwood in issue: 11/2006
Of the two audiences that this disc is aimed at—percussion fans and John Cage enthusiasts—it will be the latter who,...
Reviewed by Michael Stewart in issue: 8/1989
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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