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...
I raved about the first volume in this series which contained all Cage’s music for prepared piano performed to the...
Reviewed by Peter Dickinson in issue: 13/1998
What is to become of French opera if the French themselves take so little interest in it? The list of...
Reviewed by Patrick O'Connor in issue: 10/1999
In the days of 78s‚ a singer might record a couple of light songs‚ and the disc would achieve collectors’...
Reviewed in issue 4/2002
Schubert and Schoenberg are the chalk and the cheese at either end of Viennese romanticism. Schoenberg was well aware of...
Reviewed by Arnold Whittall in issue: 1/2000
Given Josquin’s stature it is barely credible that a couple of his Masses still await representation on CD. I can...
Reviewed in issue 11/2001
Commissioned as a 24-year-old to compose and perform a piano concerto for the 1938 Proms, Britten played safe. None of...
Reviewed by Arnold Whittall in issue: 10/2008
This an attractive and stimulating follow-up to Meridian’s first collection of Alan Bush’s chamber music (11/02), a medium in which...
Reviewed by Ivan March in issue: 1/2005
The three new CDs sound well. The DG and the Philips offer exceptional ranges of orchestral colour and perhaps on...
Reviewed by Stephen Plaistow in issue: 12/1985
A man of wide artistic tastes and talents, Foerster was more than once captivated by the idea of setting dramatic...
Reviewed by John Warrack in issue: 11/1993
The Israel players launch into the B flat Trio in splendidly heroic style, and the spacious acoustic seems to suit...
Reviewed in issue 10/1985
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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