For the May issue of Gramophone, on sale from today, we interview perfectionist Stephen Hough and discover how it took two attempts – in two different locations, on two different pianos – for the British pianist to record all five Beethoven concertos for Hyperion in a version that he was satisfied with.
Plus, Thomas Adès tells us about his new projects as composer, pianist and conductor.
And mezzo-soprano Jamie Barton reveals how she found a kindred spirit in the songs of Jake Heggie.
Elsewhere, Mark Pullinger explores the recordings of Brahms’s two clarinet sonatas and chooses his top choice while in Classics Reconsidered Geraint Lewis and David Threasher weigh up the 1972 recording of Tippett’s Fantasia Concertante on a Theme of Corelli, regarded as one of the finest discs ever made by the Academy of St Martin in the Fields under Neville Marriner – does it stand up to scrutiny today?
Plus, as always, don’t miss our expert critics’ opinions of the newest classical releases – which will be named Editor’s Choice, and which overall recording will be crowned Recording of the Month?