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BRUCKNER Symphony No 9

This beautifully prepared account of Bruckner’s Ninth Symphony was the Philharmonia’s contribution to a complete cycle of the composer’s symphonies...

Reviewed by Christian Hoskins in issue: AW2015

BRUCKNER Symphonies Nos 4 & 6

Given the immediacy of its musical invention and its modest dimensions, the relative neglect of Bruckner’s Sixth Symphony is difficult...

Reviewed by Christian Hoskins in issue: AW2015

BRUCH Violin Concerto No 1. Serenade

Following her fine performances of the Second Concerto and the Scottish Fantasy (10/14), Antje Weithaas turns her attention to the...

Reviewed by Duncan Druce in issue: AW2015

BERNSTEIN Symphony No 3. Missa Brevis. The Lark

There are a number of recurring themes in Bernstein’s symphonic work (indeed his works for the stage) and the most...

Reviewed by Edward Seckerson in issue: AW2015

BECK Symphonies Op 2

The high claims frequently made for Haydn’s Mannheim-born contemporary Franz Ignaz Beck (dubbed by the New Oxford History of Music...

Reviewed by Richard Wigmore in issue: AW2015

JS BACH Harpsichord Concertos

The seven concertos for harpsichord, alongside the five multiple works for two to four ‘cembali’, survive as transcriptions of original...

Reviewed by Jonathan Freeman-Attwood in issue: AW2015

ANDRIESSEN Symphony No 3. Symphonie Concertante

Here is another attractive offering in CPO’s valuable Andriessen survey that pairs a symphony with shorter orchestral works: shorter, but...

Reviewed by David Fanning in issue: AW2015

Alieva and Antonenko

In the search for big voiced singers for the Italian repertoire, we are getting used to looking east to the...

Reviewed by Richard Fairman in issue: AW2015

WAGNER Götterdämmerung: Act 3/Monteux conducts Wagner

Solti’s Prom concert of the final act of the Ring was actually the first time he had conducted that part...

Reviewed by Mike Ashman in issue: AW2015

VERDI La traviata

At the 2014 festival, Glyndebourne’s British-made and -conducted Traviata was generally damned with faint praise for Tom Cairns’s staging, if...

Reviewed by Mike Ashman in issue: AW2015

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