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...
Late works from Trinity 1726 and a revered and substantial Advent cantata constitute this variable volume of readings from Masaaki...
Reviewed by Jonathan Freeman-Attwood in issue: 2/2011
Fiftytwo minutes is all it takes to cover Webern’s orchestral music‚ at least if the early tonepoem Im Sommerwind and...
Reviewed in issue 2/2002
Mark-André Hamelin’s second set of Haydn sonatas confirms the adulation that greeted his first. Yet, if anything, it is even...
Reviewed by Bryce Morrison in issue: 10/2009
The so-called Renaissance Concerto (dating from 1986) could, I think, build itself quite a following among deprived; flautists in search...
Reviewed by Edward Seckerson in issue: 10/1989
‘Dream’, ‘Slow’, ‘Twilight’: these are the kind of words that give the key to Takemitsu’s later style, and all the...
Reviewed by Arnold Whittall in issue: 3/1999
Naïve’s monumental Vivaldi series continues its sensible policy of mixing chamber cantatas and concertos in this third volume, in which...
Reviewed by Lindsay Kemp in issue: 11/2005
Pretre as a Strauss conductor is not an automatic association of ideas until one remembers that he made his Paris...
Reviewed in issue 2/1986
Returning to these wonderful recordings for the umpteenth time confirms such perennial qualities as crystal-clear articulation, a keen sense of...
Reviewed in issue 8/1999
Martinu hardly wrote the sort of music where every note is worth its weight in gold. Criticized for his failure...
Reviewed by Bryce Morrison in issue: 9/1999
A first-class record, very well balanced and presenting Silbermann's organ in a very youthful light. What a fine instrument it...
Reviewed in issue 11/1984
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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