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CAMPRA Tancrède

Campra’s Tancrède was first performed at Paris’s Académie Royale de Musique in 1702 and revived sporadically until as late as...

Reviewed by David Vickers in issue: 08/2015

BOESMANS Au Monde

Belgian composer Philippe Boesmans, just turned 79, was a close associate-cum-student of Henri Pousseur and the composers around him in...

Reviewed by Mike Ashman in issue: 08/2015

Vanessa Benelli Mosell: [R]evolution

On paper, Vanessa Benelli Mosell’s ‘revolution/evolution’ concept seems provocative enough to draw attention. In reality, the thorny, intricate serial landscapes...

Reviewed by Jed Distler in issue: 08/2015

Tom Poster: Light and Shadows

Entitled ‘Light and Shadows’, Tom Poster’s thoughtful recital is arguably more shadows than light. As his own accompanying note explains,...

Reviewed by Bryce Morrison in issue: 08/2015

Anders Eidsten Dahl: Hymnus

In its concise but slow-feeling harmonic journey, Sibelius’s Intrada (1925) sounds almost like a Schenkerian harmonic plotting of a larger,...

Reviewed by Andrew Mellor in issue: 08/2015

Anatole Kitain: The Complete Columbia Recordings, 1936-39

What factors determine your admission into the pantheon of great artists? Talent, of course, but also luck – or the...

Reviewed by Jeremy Nicholas in issue: 08/2015

STÄBLER HEISS!

Gerhard Stäbler came to music through the organ and today remains earthed in its history and base acoustic alchemy: an...

Reviewed by Philip Clark in issue: 08/2015

RAMEAU Nouvelles Suites de Pièces de Clavecin: Livre II

More...

Reviewed by Jed Distler in issue: 08/2015

MOZART Piano Sonatas Nos 6, 12, 14 & 16

Angular or strident sounds are not a part of Christian Blackshaw’s technique. Instead a horizontally even line and lucid touch...

Reviewed by Nalen Anthoni in issue: 08/2015

LISZT; MENDELSSOHN; REUBKE Organ Works

Here are the two Everests of the organist’s 19th century repertoire with a sonata, placed between them, by the composer...

Reviewed by Jeremy Nicholas in issue: 08/2015

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