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...
Most of the material on this volume is not first-rate Schubert, but the performances certainly are; indeed, they’re superb, by...
Reviewed by Alan Blyth in issue: 10/2000
Donald Runnicles and the Atlanta Symphony serve up a spiffy yet sober account of Beethoven’s Choral Symphony. Repeats in the...
Reviewed by Andrew Farach-Colton in issue: 10/2003
The attractions of this disc relate entirely to the two Zimmermanns in the Sinfonia concertante. Though not of the same...
Reviewed by Edward Greenfield in issue: 7/1991
'Op. 1' and 'Op. posth.' says a lot about Balakirev's two piano concertos. The First is a single movement only,...
Reviewed in issue 7/1993
In his note to this record‚ Pierre Barbier comments that the Grand duo concertant ‘can be understood as a concerto...
Reviewed in issue 10/2001
This, the latest instalment in Preiser’s Pinza edition (Vol. 1 was reviewed in 3/92) is made up of some of...
Reviewed by Alan Blyth in issue: 2/1997
The duets are the most successful of the performances here, occasioning a regret that the programme had not been what...
Reviewed in issue 3/1994
Grant Llewellyn's Butterworth is a model of sensitivity and poise. To be truthful, I don't think I've ever heard the...
Reviewed by Andrew Achenbach in issue: 6/1993
Beethoven composed his Fourth Piano Concerto between late 1805 and early 1806. There was a private performance of the work...
Reviewed in issue 11/1994
“I feel myself to be the unhappiest, most wretched creature in the world.” Thus, on March 31st, 1824, Schubert wrote...
Reviewed in issue 9/1996
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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