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Rhinemaidens

Rivers tend to be men, but Father Rhine only had daughters to entertain him in his dotage. Those women are...

Reviewed by Neil Fisher in issue: 05/2016

Simone Kermes: Love

Part recital, part musical self-help manual, Simone Kermes’s latest album is a guide to love, 17th-century style. Whether your romantic...

Reviewed by Alexandra Coghlan in issue: 05/2016

In Memoriam

The death of David Trendell in 2014 at the age of just 50 deprived us of a larger-than-life figure who...

Reviewed by Ivan Moody in issue: 05/2016

Li Due Orfei. Haec Dies: Music for Easter

We all know what you get from an Oxbridge choral disc – at least we did until Graham Ross arrived...

Reviewed by Alexandra Coghlan in issue: 05/2016

Conversations with God

The title of this recording, ‘Conversations with God’, takes its cue from a 1645 publication by Andreas Hammerschmidt, a representative...

Reviewed by Fabrice Fitch in issue: 05/2016

TALLIS Lamentations of Jeremiah

This final volume of Tallis from The Cardinall’s Musicke continues the fine form of its predecessors. Their interpretation of the...

Reviewed by Fabrice Fitch in issue: 05/2016

SØRENSEN Snowbells

This is proving some year for Bent Sørensen. His remarkable new Triple Concerto was premiered by Trio Con Brio and...

Reviewed by Andrew Mellor in issue: 05/2016

SCHNITTKE Penitential Psalms

Composed in 1988 to celebrate the millennium of Russia’s conversion to Christianity, Schnittke’s Penitential Psalms overlap stylistically and conceptually with...

Reviewed by David Fanning in issue: 05/2016

PASQUINI La sete di Cristo

Bernardo Pasquini (1637-1710) was Rome’s leading harpsichordist and organist at about the same time as Corelli and Alessandro Scarlatti. Indeed,...

Reviewed by David Vickers in issue: 05/2016

LOTTI Crucifixus

Just as there’s more to Allegri than the Miserere, so with Antonio Lotti. The ubiquitous ‘Crucifixus’ (from the Missa Sancti...

Reviewed by Jonathan Freeman-Attwood in issue: 05/2016

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