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Mendelssohn Violin Concerto, Op 64. Octet, Op 20
Pinchas Zukerman | Saint Paul Chamber Orchestra
Zukerman, with his own chamber orchestra, gives a surprisingly Classical reading of this concerto, not just on a consciously intimate...
Reviewed by Edward Greenfield in issue: 1/1985
Mendelssohn Works for Clarinet, Basset Horn and Piano
Alan Hacker | Lesley Schatzberger | Richard Burnett
There is a great deal of Mendelssohn still to be explored, and this record charmingly mixes familiar and unfamiliar, in...
Reviewed by John Warrack in issue: 4/1990
Mendelssohn & Bruch: Violin Concertos
Cho-Liang Lin's performances were highly praised when they were first issued, and rightly so. They make a superb mid-price coupling...
Reviewed by Ivan March in issue: 3/1991
Mendelssohn Die Hochzeit des Camacho
Mendelssohn had half a dozen shots at opera-writing, but never really hit the target. Of his little Singspiels, the best...
Reviewed by John Warrack in issue: 9/1991
Mendelssohn String Quartets Nos 1 & 2
I greatly admired the Leipzig Quartet’s recent recording of these two quartets. Now they’re joined by a version that’s just...
Reviewed in issue 4/2002
Mendelssohn Octet, Op 20; String Quartet, Op 13
Though the Octet bears the higher opus number it is in fact the earlier composition of the two here, and...
Reviewed in issue 1/1988
Mendelssohn Sacred Choral Works
In Cambridge, the colleges of St John and Trinity are next-door neighbours. Whether somebody has had his ear to the...
Reviewed by John Steane in issue: 6/2006
Mendelssohn Symphonies Nos 3 & 4
Academy of St Martin in the Fields | Neville Marriner
I must pitch into Marriner, as I have many conductors before him, for not observing the exposition repeat in the...
Reviewed in issue 11/1984
Mendelssohn Elijah (sung in German)
This is a recording that will undoubtedly make us revise ideas of performing Mendelssohn's popular oratorio. Roger Norrington has always...
Reviewed by Alan Blyth in issue: 11/1993
Beethoven; Brahms; Mendelssohn Piano Works
he rugged contours and flinty edges that often defined Rudolf Serkin’s piano recordings took on more complex sonorous manifestations when...
Reviewed by Jed Distler in issue: 8/2007
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