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The Art of the Lute-Harpsichord

Literary sources reassure us that the luteharpsichord existed, though none has survived to tell us exactly what it looked or...

Reviewed by John Duarte in issue: 2/1991

Handel Esther

Though mentioned in all the textbooks as the first English oratorio, Esther is nowadays rarely to be heard. In fact,...

Reviewed by Lionel Salter in issue: 12/1985

Frank Martin Piano & Chamber Works

A thrusting, purposeful and vibrantly communicative triptych from this fine husband-and-wife duo. Walton's underrated Violin Sonata (written for Menuhin in...

Reviewed by Andrew Achenbach in issue: 2/2000

Bruckner Symphony No 3

It is good to have a newcomer to this symphony on record, Giuseppe Sinopoli, opting for the preferable but too...

Reviewed by Richard Osborne in issue: 10/1991

Shostakovich Symphonies Nos 3 & 12

These are probably Shostakovich's least impressive symphonic utterances, but it makes sense to link them, as two scores which cannot...

Reviewed in issue 11/1994

Modern vocal works

The previous recording of A-Ronne was of an expanded version for the eight voices of Swingle II (Decca HEAD15, 1/77—nla),...

Reviewed in issue 9/1986

Weber Overtures

Weber brought new eloquence to the art of setting the operatic scene with descriptive overtures, especially through his ear for...

Reviewed by John Warrack in issue: 2/2009

Schubert Piano Works for Four Hands

Perhaps only Mozart compares with Schubert in achieving poignancy through economical means. At the same time it has to be...

Reviewed by Bryce Morrison in issue: 11/2009

Purcell: Chamber Works

These are the fantasies Purcell wrote as a young man more or less in the style of the out-dated Jacobean...

Reviewed in issue 3/1984

Brahms Symphonies Nos 1 and 3

Heard superficially in Brahms’s Third, Christoph von Dóhnanyi and Sir Colin Davis both weigh in heavily, much as Furtwängler and...

Reviewed by Rob Cowan in issue: 7/2011

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