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Kalevi Aho Accordian Sonatas

In two substantial movements, Kalevi Aho’s first sonata surely stretches accordion technique to new limits. Tynkkynen is unphased by its...

Reviewed by kYlzrO1BaC7A in issue: 4/1999

Dvorák Stabat Mater

The Czech recording has a German conductor and the German recording has a Czech conductor. I have little hesitation in...

Reviewed by John Warrack in issue: 5/1984

Beethoven Symphony No 4. Prokofiev Symphony No 6

Characteristically intense accounts, drawn from Czech radio broadcasts. The Beethoven, lithe and animated, suffers from variable transfer levels and occasional...

Reviewed by kYlzrO1BaC7A in issue: 8/1998

Tavener Agraphon; Total Eclipse

John Tavener’s ability to arrest the listener’s ear is nowhere more apparent than in the extraordinary opening pages of Total...

Reviewed by Michael Stewart in issue: 4/2001

Brahms Piano Sonata No 3, Op 5; Ballades, Op 10

In what we’re told is his first “purely solo recording” since signing an exclusive contract with Teldec, Barenboim salutes the...

Reviewed by Joan Chissell in issue: 10/1997

Shostakovich String Quartet Nos 3, 7 & 8

Coupling these quartets seems to be in vogue: this disc follows on from that by the Hagen Quartet (DG, 8/06),...

Reviewed by Richard_Whitehouse in issue: 13/2006

Monteverdi Madrigals

This is a ‘first’ in more ways than one. To begin with, Monteverdi’s Primo libro of 1587 is, even by...

Reviewed by Iain Fenlon in issue: 8/1996

Dillon String Quartet No. 2; Parjanya-vata; Traumwerk;Vernal Showers

For a composer with James Dillon’s avant­garde credentials‚ the title Vernal Showers might lead you to expect a send­up of...

Reviewed in issue 11/2001

Goldsmith Planet of the Apes-film score

A milestone in American film music, Jerry Goldsmith’s Planet of the Apes score (1968) is truly extraordinary and the best...

Reviewed in issue 1/1998

Bliss Chamber Works Vol 2

Only last October I gave a guarded welcome to Chamber Domaine’s world première recording of Bliss’s 1915 Piano Quartet. Now...

Reviewed by Andrew Achenbach in issue: 6/2003

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