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MONTEVERDI Vespers (Herreweghe)

Philippe Herreweghe’s 1986 recording of Monteverdi’s Vespers had an oratorio-style nobility, soft choral wooliness, stately measured speeds and cautiously deliberate...

Reviewed by David Vickers in issue: 10/2018

MACHAUT The Gentle Physician

The centrepiece of this disc is Le lay de confort, a setting of the longest of the poetic forms available...

Reviewed by Fabrice Fitch in issue: 10/2018

KASTALSKY Memory Eternal

Kastalsky’s importance in Russian music of the beginning of the 20th century was very considerable. Not only was he a...

Reviewed by Ivan Moody in issue: 10/2018

JANSON The Wind Blows: Music for Choir

While the Norwegian music scene lingered in post-war crisis, attempting to absolve itself from too many wartime associations with Nazism...

Reviewed by Andrew Mellor in issue: 10/2018

JANÁČEK Glagolitic Mass (Bělohlávek)

There are few more uplifting works in the orchestral repertoire than Janáček’s Sinfonietta, especially when its opening fanfares return in...

Reviewed by Mark Pullinger in issue: 10/2018

HANDEL Cantatas (Carolyn Sampson)

With opera banned as a dangerous corrupting force by the puritanical Pope Innocent XII, Roman aristocrats around 1700 made do...

Reviewed by Richard Wigmore in issue: 10/2018

GORZANIS La barca del mio amore

Modern guitarists and listeners will be most familiar with the music of blind Apulian lutenist and composer Giacomo Gorzanis (c1530-c1575)...

Reviewed by William Yeoman in issue: 10/2018

GOODALL Invictus

Invictus draws its title from the poem by William Ernest Henley, one of the poets whose words are scattered throughout...

Reviewed by Adrian Edwards in issue: AW18

DALE Requiem for my Mother

Rebecca Dale’s debut album arrives with much fanfare and publicity, with her new label proclaiming that she is ‘the first...

Reviewed by Pwyll ap Siôn in issue: 10/2018

L BOULANGER Hymne au Soleil

Evoking spaces and possibly rituals well beyond the shores of Europe within its three minutes, the D flat piano Prelude...

Reviewed by Peter Quantrill in issue: 10/2018

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