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SHOSTAKOVICH Piano Concertos. Piano Sonatas

What a sensible idea to programme both of Shostakovich’s concertos with the two piano sonatas, with the early First Sonata getting...

Reviewed by Harriet Smith in issue: 12/2017

SCRIABIN Symphony No 2. Piano Concerto

While Scriabin’s Second Symphony is arguably the most conventional of his five from a melodic and harmonic standpoint, it’s not a...

Reviewed by Jed Distler in issue: 12/2017

Soave e virtuoso

One would be hard-pressed to find a flautist whose music-making is as broad as Alexis Kossenko’s. Active on both modern...

Reviewed by Charlotte Gardner in issue: 12/2017

SAINT-SAËNS Organ Symphony. Carnival of the Animals

Saint-Saëns’s Organ Symphony and The Carnival of the Animals are rarely paired together on disc. Hugely different in scale, they...

Reviewed by Mark Pullinger in issue: 12/2017

RAVEL Daphnis et Chloé. Une barque sur l'océan

It’s unfortunate, perhaps, that Gustavo Gimeno’s new Pentatone recording of Daphnis et Chloé should appear so soon after François-Xavier Roth’s...

Reviewed by Tim Ashley in issue: 12/2017

WEINBERG Symphony No 5 PROKOFIEV Symphony No 5

Why re-record Weinberg’s Fifth? Well, it is certainly a standout piece in his output of 26 symphonies, constantly astonishing by its...

Reviewed by David Fanning in issue: 12/2017

PROKOFIEV Violin Concerto No 2. Violin Sonatas

At the heart of this curiously planned miscellany is Prokofiev’s G minor Violin Concerto, one of the last scores he completed...

Reviewed by David Gutman in issue: 12/2017

MILLÖCKER Waltzes. Marches. Polkas

For a composer of some of the most easy-going music in history, Carl Millöcker appears to have been a tricky...

Reviewed by Andrew Mellor in issue: 12/2017

MEDTNER; RACHMANINOV Piano Concertos

It is partly the constantly changing and complex rhythms that have contributed to the comparative neglect of Medtner’s three piano...

Reviewed by Jeremy Nicholas in issue: 12/2017

MATHIAS Piano Concertos Nos 2 & 3

William Mathias didn’t seem to have much, if any, interest in working anywhere near the musical cutting edge, yet there’s...

Reviewed by Andrew Farach-Colton in issue: 12/2017

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