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Matei Varga: Early Departures

‘Early Departures’ refers to sadness, pain and loss, topics that Matei Varga purports to address in his solo debut recital....

Reviewed by Jed Distler in issue: AW18

MUSSORGSKY Pictures at an Exhibition PROKOFIEV Cinderella

Sergei Gorchakov’s orchestration of Mussorgsky’s Pictures was completed in 1955. This is the fifth recording of it I know of,...

Reviewed by Guy Rickards in issue: AW18

JOFRE Double Concerto for Violin and Bandoneon

As far as composer Juan Pablo Jofre Romarion is aware, there is no double concerto for violin and bandoneon, aside...

Reviewed by Guy Rickards in issue: AW18

CHAMBERLAIN Three-Nine Line

Nicole Chamberlain’s portfolio of prize-winning pieces for flute is a lovely bouquet to the flautist’s art. Considering the composer’s success...

Reviewed by Laurence Vittes in issue: AW18

BEETHOVEN; BRAHMS Violin Sonatas (Parashkevov)

Two core works of the violin-piano repertoire share a programme with pieces by Mahler – one familiar, though not in...

Reviewed by Donald Rosenberg in issue: AW18

JS BACH Sonatas and Partitas for violin alone (Thomas Bowes)

Thomas Bowes’s rough-hewn, deeply human new recording of Bach’s Sonatas and Partitas is at every level a reflection on how...

Reviewed by Laurence Vittes in issue: AW18

ANDREWS and that moment when the bird sings

English-born Simon Andrews (b1958) was educated at Chichester Cathedral Chorister School, the Royal Academy of Music, Oxford University and the...

Reviewed by Guy Rickards in issue: AW18

softLOUD

Following live festival performances last year, the talented young Scottish guitarist Sean Shibe brings this bracingly original concert programme featuring...

Reviewed by William Yeoman in issue: AW18

Ksenia Kouzmenko: Ranges of Érard

A native of the Belarusian capital Minsk, Ksenia Kouzmenko studied there and at the Royal Conservatory in The Hague, where...

Reviewed by Patrick Rucker in issue: AW18

David Quigley: Piano Nocturnes

What is the first name that comes to mind when you hear ‘nocturne’? No doubt Chopin. Next, perhaps, John Field,...

Reviewed by Michelle Assay in issue: AW18

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