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...
Back in March 2000 I remarked that Martin Jones’s scrupulously sensitive but self-effacing artistry made you long for a complete...
Reviewed by Bryce Morrison in issue: 9/2004
Handel has the lion's share in this enjoyable mixed bag of arias, sacred and secular, well and less-well known, and...
Reviewed by John Duarte in issue: 8/1988
In the wake of the charming pair of Nordic trombone concerto discs I reviewed in the May issue comes another...
Reviewed by Guy Rickards in issue: 9/2007
Relatively few releases present a good case for live recordings: this one, however, most certainly does! Here we find that...
Reviewed by mjameson in issue: 12/1991
Claudio Arrau's one previous recording of the Diabelli Variations was made in 1952 and issued here on the Brunswick label...
Reviewed by Richard Osborne in issue: 5/1987
What is undoubtedly one of the greatest performances ever on record sounds even more terrifyingly realistic on CD. There are...
Reviewed by Andrew Lamb in issue: 12/1986
Henry Walford Davies’s splendid oratorio was written and first heard in 1904, in the shadow of Elgar’s Gerontius. Yet it...
Reviewed by Ivan March in issue: 2/2005
MacMillan’s two cello sonatas were composed in 1998 and 2000, yet in many ways they are poles apart. The two-movement...
Reviewed by David Fanning in issue: 8/2007
Best known for his wonderful songs, which number over 300, and his operas, Schoeck composed comparatively little pure instrumental music...
Reviewed by Robert Layton in issue: 2/1997
A huge triumph for Glyndebourne, this. But before going on to particularise, perhaps we should tip some of our bouquets...
Reviewed by John Steane in issue: 5/2010
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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