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DVOŘÁK The Complete Piano Trios

As with Shostakovich and his string quartets, there are no really early Dvořák piano trios. The First Trio in B...

Reviewed by Rob Cowan in issue: AW23

CATOIRE String Quartet Op 23. Piano Quintet Op 28

The discography of the Russian Georgy Catoire (Katuar, if we wanted to re-Russify him) is still disappointingly meagre, but at...

Reviewed by Michelle Assay in issue: AW23

BRAHMS The Complete Sonatas for Piano and Violin

The booklet for this recording describes Johannes Leertouwer as ‘a violinist, conductor, researcher and pedagogue’, and Julian Reynolds as ‘a...

Reviewed by Richard Lawrence in issue: AW23

French Cello Sonatas, Vol 2 (Marina Tarasova)

Stephen Sensbach documented the abundant literature of French cello sonatas in a comprehensive study (Lilliput Press: 2001), invaluable for cellists...

Reviewed by Peter Quantrill in issue: AW23

BEETHOVEN Complete Chamber Music with Flute

The keyword here, perhaps, is ‘complete’. Beethoven’s ‘Complete Chamber Music with Flute’ is predominantly early, some is of dubious provenance...

Reviewed by David Threasher in issue: AW23

JS BACH Six Trio Sonatas, after BWV525-530

This is, quite simply, a delightful recording. Robert King, who plays harpsichord and chamber organ throughout, has ‘repurposed’ JS Bach’s...

Reviewed by Mark Seow in issue: AW23

ALFANO Complete String Quartets

Alfano’s First begins like a quartet using jump-leads to start a Janáček piece (though it dates from 1915, eight years...

Reviewed by Peter Quantrill in issue: AW23

WALKER Sinfonias Nos 1-5 (Noseda)

The National Symphony Orchestra have been releasing recordings of George Walker’s five sinfonias as digital singles (I reviewed Nos 1...

Reviewed by Andrew Farach-Colton in issue: AW23

VIVALDI Concerti Per Violino Xi 'per Anna Maria' (Fabio Biondi)

The Vivaldi Edition rolls on. Proposed by scholar Alberto Basso, its aim is not to record everything the Red Priest...

Reviewed by Mark Pullinger in issue: AW23

SHOSTAKOVICH Symphonies Nos 5 & 9 (van Zweden)

This coupling defines Shostakovich in so many ways – not least the subterfuge and double-speak that marked out his symphonic...

Reviewed by Edward Seckerson in issue: AW23

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