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PARRY I Was Glad

Although Parry is often thought of as a composer of Anglican church music, he did in fact write very little...

Reviewed by Jeremy Dibble in issue: 10/2024

HAYDN Seven Last Words (Helen Kearns)

I didn’t ‘get’ this touched-up version of the Seven Last Words when I first heard it courtesy of the Henschel...

Reviewed by Richard Wigmore in issue: 10/2024

GESUALDO Silenzio mio: Fourth Book of Madrigals

I warmly welcome this new addition to our collective understanding of the Prince of Venosa. No longer headlining as a...

Reviewed by Edward Breen in issue: 10/2024

FAURÉ Requiem GOUNOD Messe de Clovis (Niquet

Conductors who record Fauré’s Requiem are likely to do so at least twice. Mysteries are few, vocal lines have no...

Reviewed by David Patrick Stearns in issue: 10/2024

DEAN Rooms of Elsinore

em>Hamlet tends to get under the skin, but it’s a sign of how seriously Brett Dean took his 2010 Glyndebourne...

Reviewed by Andrew Mellor in issue: 10/2024

Brahms Songbook Vol 2

For the second release in his projected survey of Brahms’s complete songs on Linn, Malcolm Martineau is joined by mezzo...

Reviewed by Hugo Shirley in issue: 10/2024

AHO; RAUTAVAARA Joy and Asymmetry

Teacher and pupil Einojuhani Rautavaara and Kalevi Aho sit well together, not least as each tempered stringent formal principles with...

Reviewed by Andrew Mellor in issue: 10/2024

Maria Narodytska: War Poems

The grim cloak of war informs all of the music on this disc to varying degrees, as discussed in vivid...

Reviewed by Jed Distler in issue: 10/2024

Jean-Paul Gasparian: Origins

Though born in Paris, Jean-Paul Gasparian identifies as ethnically Armenian. He will be 29 this year and has already amassed...

Reviewed by Patrick Rucker in issue: 10/2024

Anna Fedorova: Intrigues of the Darkness

Do Anna Fedorova’s colourfully succinct descriptions of the works featured on this musical journey from darkness to light spill over...

Reviewed by Jed Distler in issue: 10/2024

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