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...
Possibly the only piece here that will be known to most music-lovers will be the third of the Op. 4...
Reviewed by John Warrack in issue: 7/1991
The Chadwick revival continues apace! Only in February I was welcoming a memorable (and outstandingly well-engineered) collection on the Reference...
Reviewed by Andrew Achenbach in issue: 6/1996
I suppose I asked for it. These performances have all the accent and colour, all the shape and dramatic flair...
Reviewed in issue 9/1992
Stepan Rak is a guitarist of amazing technical prowess who is obviously impatient with what are perceived as the expressive...
Reviewed by Michael Oliver in issue: 9/1988
EMI's Beecham Edition has put the great conductor very much before the record-buying public again, but even though his pre-war...
Reviewed in issue 7/1993
“He was a man who used to notice such things” is the last line of the Thomas Hardy poem “Afterwards”,...
Reviewed by Mike Ashman in issue: 5/2010
When these two sets first appeared in 1976, it was a close-run thing which to prefer, and I still find...
Reviewed by Alan Blyth in issue: 9/1986
For sustained inspiration Shostakovich's first ballet score is no rival to Prokofiev's Romeo and Juliet; neither is it as even...
Reviewed in issue 5/1994
Starting with an urgent Gretchen (has the wheel ever spun so fast?), the recital proceeds via an intense Szene aus...
Reviewed in issue 11/1998
For La mer there are qualities here that seem very French: suppleness of rhythm; a certain grace and fluidity of...
Reviewed by John Steane in issue: 12/1992
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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