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...
The music for Oliver Stone’s new film Alexander features several characteristics of the Vangelis style, from synthesisers, acoustic instruments and...
Reviewed by Adrian Edwards in issue: 3/2005
Irish composers (unlike Irish writers) are not generally well known outside Ireland. Stanford and Maconchy are unusual in having achieved...
Reviewed in issue 10/1994
The Prague Chamber Orchestra do not use period instruments and play at standard modern pitch, but under Mackerras's expert stylish...
Reviewed by Lionel Salter in issue: 9/1988
The special delight here is the orchestration of Tchaikovsky’s piano suite, The Seasons. It was made at the height of...
Reviewed by Edward Greenfield in issue: 7/1997
Around the time this CD dropped on my mat I was happily revisiting Herbert von Karajan’s broad and imposing 1987...
Reviewed by Rob Cowan in issue: 1/2009
Baz Luhrmann’s ground-breaking and highly regarded production was new at Sydney in 1990. It was committed to video in 1993....
Reviewed by Alan Blyth in issue: 9/2003
Paavo Heininen is notable as one of the first Finnish composers to adopt the 12-note technique (around 1960); but he...
Reviewed in issue 12/1990
Listening once more to Arrau’s Liszt is to recollect those many occasions in the concert hall when he seemed like...
Reviewed by Bryce Morrison in issue: 10/2001
This is one of the most exciting organ recordings. I have come across. For one thing, we are hearing a...
Reviewed in issue 3/1986
It could not be said that any of these works represents its composer at his best; indeed, Heinichen (sometimes) and...
Reviewed by John Duarte in issue: 7/1994
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
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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