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Bach Cantatas, Vol 33

Each of these major cantatas comes from Bach's second cycle at Leipzig: the chorale-cantatas so called for their use of...

Reviewed by Jonathan Freeman-Attwood in issue: 2/2007

Vaughan Williams Orchestral Works

That opening chord of the Tallis Fantasia—G major, spread through three octaves, pianissimo—is still for me one of the most...

Reviewed by Stephen Johnson in issue: 9/1986

Ars Subtilior

It is characteristic of the Ars Subtilior repertory that its supposed eccentricity in the matter of notational exuberance has given...

Reviewed by Fabrice Fitch in issue: 10/1998

Riley (The) Cusp of Magic

For all its pathological “niceness”, Terry Riley’s The Cusp of Magic skates on wafer-thin material. Long gone are the days...

Reviewed by Philip_Clark in issue: 6/2008

Monteverdi Combattimento di Tancredi e Clorinda; Madrigals

Monteverdi’s theatrical ‘late’ madrigals rely on an alliance between accomplished vocal executancy, dramatic flair and textural coloration: the great ‘Baroque’...

Reviewed by Jonathan Freeman-Attwood in issue: 7/2006

Honneger Symphonies and Symphonic Movements

Paul Sacher used to tell a story of Honegger conducting in rehearsal. At one point the first oboe put up...

Reviewed in issue 2/2002

Bach Christmas Oratorio

Of all the versions of Bach’s Christmas Oratorio that I listened to for my Gramophone “Collection” (see page...

Reviewed by Nicholas Anderson in issue: 12/1997

Mozart Sinfonia Concertante

There is no shortage of good versions of the Sinfonia Concertante with violin and viola soloists, but there is still...

Reviewed by Christopher Headington in issue: 9/1989

Heifetz plays Violin Concertos

I have suggested in previous reviews that Heifetz was a warmer, more spontaneous artist in pre-war years than in the...

Reviewed in issue 10/1992

Berkeley, L Symphonies Nos 1 & 2

In 2002 Chandos initiated a new series of Berkeley recordings, conducted by Richard Hickox and sharing the discs between father...

Reviewed by Arnold Whittall in issue: 9/2007

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