Dorothee Mields: Handel's Tea Time
It isn’t obvious what ‘Handel’s Tea Time’ means, nor if it is a northerner’s main meal or a southerner’s four...
Reviewed by David Vickers in issue: 02/2021
Hidden Treasure: Hans Gál's Unpublished Lieder (Christian Immler)
The selection here represents a little under half of Gál’s lieder output, nearly all of it unpublished to this day....
Reviewed by Peter Quantrill in issue: 02/2021
BRUCKNER Latin Motets (Klava)
Sigvards Kļava’s latest recording with the Latvian Radio Choir features not only first-rate performances of some of Bruckner’s better-known motets...
Reviewed by Christian Hoskins in issue: 02/2021
Vanitas: Schubert, Beethoven & Rihm
We’ve seen Beethoven’s An die ferne Geliebte appear in a variety of couplings over the past year but this is...
Reviewed by Hugo Shirley in issue: 02/2021
AYRES Sacred Music
Although very much embedded in the UK choral scene, British composer Paul Ayres writes a lot for American ensembles, and...
Reviewed by Alexandra Coghlan in issue: 02/2021
Stephen Hough: Vida Breve
To call this a concept album would be to diminish its power and timeliness. It is both a meditation on...
Reviewed by Michelle Assay in issue: 02/2021
Pioneers: Piano works by Female Composers
In this collection of 21 brief works, there is no great music, a lot of good music and a few...
Reviewed by Jeremy Nicholas in issue: 02/2021
Christian-Pierre La Marca: Cello 360
Whoever came up with ‘Cello 360’ as the title for Christian-Pierre La Marca’s first album for Naïve deserves a pay...
Reviewed by Charlotte Gardner in issue: 02/2021
Vanessa Benelli Mosell: Casta Diva
Looking back through the Gramophone archive, I see that this gifted Italian pianist (b1987) has been appearing on and off...
Reviewed by Jeremy Nicholas in issue: 02/2021
REICHA L'art de varier (Ivan Ilić)
Whether or not Antoine Reicha’s all-but-unknown L’art de varier, Op 57 (composed between 1802 and 1803) represents the proverbial missing...
Reviewed by Jed Distler in issue: 02/2021
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