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Tecchler's Cello

Guy Johnston’s cello was built in Rome in 1714 by the Bavarian-born David Tecchler. To commemorate its 300th birthday, the...

Reviewed by Andrew Farach-Colton in issue: 11/2017

Serenata Italiana

Italy produced a wealth of fine Romantic instrumental music between the late 19th and mid-20th centuries, and some of the names...

Reviewed by Richard Bratby in issue: 11/2017

Martha Argerich and Friends Live from Lugano 2016

The latest ‘Martha Argerich and Friends’ edition is culled from the Lugano Festival Progetto Martha Argerich’s final season in 2016. Whether...

Reviewed by Jed Distler in issue: 11/2017

Borusan Quartet: Company

This is a delectable programme on paper but, when you come to listen, it can feel a little thin. An...

Reviewed by Andrew Mellor in issue: 11/2017

ZELENKA Trio Sonatas. Simphonie a 8 concertanti. Hipocondrie a 7 concertanti

In these days when in the realm of Baroque repertoire you can’t move for tripping over a period instrument, the...

Reviewed by Charlotte Gardner in issue: 11/2017

TCHAIKOVSKY String Quartet No 1. String Sexttet, 'Souvenir de Florence'

The Novus Quartet’s wiry, glistening tone – like a tightly coiled bundle of fine, luminous filaments – brings to mind the original...

Reviewed by Andrew Farach-Colton in issue: 11/2017

SCIORTINO Chamber Music for Piano and Strings

Italian contemporary music has struggled to find renewed focus in recent years, with Orazio Sciortino (b1984) evidently among its leading...

Reviewed by Richard Whitehouse in issue: 11/2017

C RILEY Shenanigans

That Colin Riley (b1963) is, in his own words, ‘a composer of no fixed indoctrination’ feels less provocative a statement than...

Reviewed by Richard Whitehouse in issue: 11/2017

REICHA Chamber Music

Antoine Reicha’s reputation has long been hampered by the air of academicism that clings to it. A Czech-born contemporary of Beethoven,...

Reviewed by Tim Ashley in issue: 11/2017

MENDELSSOHN String Quartets Nos 2 & 4. 4 Pieces. Frage

'He had the smallest modicum possible of the phlegmatic, and the maximum of the opposite quality.’ Goethe’s characterisation of the...

Reviewed by Richard Wigmore in issue: 11/2017

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