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Melchior sings Wagner

As the years go by and no real Heldentenor appears on the scene, the achievement of Melchior in Wagner seems...

Reviewed by Alan Blyth in issue: 10/1989

Dvorák; Herbert Cello Concertos

Victor Herbert’s appealing‚ expertly written concerto probably inspired Dvo·ák to write his masterpiece in the form. The two works have...

Reviewed in issue 4/2002

Toch String Quartets Nos 7 and 10; Dedication

Like the Sixth, Toch’s Seventh Quartet (c1907) owes much to Brahms and the Viennese tradition, though its handling of form...

Reviewed by Guy Rickards in issue: 1/2004

Dvorák; Smetana Piano Trios

In my original review (3/76) I called the Yuval a young Israeli trio. Nothing is given about them here except...

Reviewed by kYlzrO1BaC7A in issue: 11/2001

Mâche Aera; Khnoum; Maraé; (Le) printemps du serpent

The booklet quotes Berlioz’s statement that ‘every sound body implemented by the composer is a musical instrument’. More recently, jazz/improv...

Reviewed by bwitherden in issue: 1/2006

Baroque Choral Works

The common factor in this programme is the adherence of its three composers to what is generally called the Neapolitan...

Reviewed by Nicholas Anderson in issue: 10/1997

Hindemith Complete Viola Music Vol.1

Paul Hindemith isn’t exactly the first composer you think of when the term “hit tune” is mentioned but the opening...

Reviewed by Rob Cowan in issue: 8/2009

Violin and Piano Recital

This wide-ranging programme in EMI’s Debut series is like a musical calling-card for Sergey Khachatryan (born in Armenia in 1985),...

Reviewed by DuncanDruce in issue: 1/2003

Wagner Der Ring des Nibelungen

Charting a path through the maze of Ring recordings becomes ever more complex as the sets pile up on the...

Reviewed by Alan Blyth in issue: 10/1994

Rimsky-Korsakov Scheherazade; Russian Overture

Another quite enjoyable Scheherazade, distinctive for the inner clarity of the recording (made in the Mann Auditorium, Tel Aviv) which...

Reviewed by Ivan March in issue: 3/1989

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