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...
One of the recurring pleasures of the introduction of the Compact Disc is the unexpected appearance of rare repertoire—here for...
Reviewed in issue 7/1984
Here is an enterprising record (like most Hyperion issues) of music we ought to know better. Ferguson, 78 this year,...
Reviewed in issue 8/1986
Both these productions by Laurent Pelly of classic Offenbach opéras-bouffes are somewhat radical in their staging. Neither of them presents...
Reviewed by po'connor in issue: 6/2009
Not even in 1978—the tercentenary year did the recording industry come close to putting all of Vivaldi's concertos into the...
Reviewed by John Duarte in issue: 2/1988
Hard on the heels of the New London Consort’s disc dedicated to the ensaladas of Mateo Flecha (L’Oiseau-Lyre, 3/98) comes...
Reviewed by Tess Knighton in issue: 4/1998
Whether or not Bach intended these works to be played on the lute is a question that need not detain...
Reviewed by John Duarte in issue: 3/1991
Though it evokes the mighty dead, let it stand now. The songs run the range from passionate intensity (Go down,...
Reviewed by John Steane in issue: 6/2004
As anyone who has heard them in the flesh will testify, the Borodin Quartet produces a particularly sumptuous sonority, refined...
Reviewed by Robert Layton in issue: 4/1990
This is as faithful a piece of authenticity as you can get. The 1889 Cavaille-Coll organ, which spoke characteristically enough...
Reviewed in issue 10/1985
Turn up Gramophone for April 1972 and you’ll find a striking cover montage announcing the first recording of...
Reviewed by Arnold Whittall in issue: 2/1997
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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