Perhaps the most significant of the large-scale works not commercially recorded by Arturo Toscanini is his January 24, 1943, broadcast of Brahms’ A German Requiem.
Idil Biret and Antoni Wit play Rachmaninov’s First Concerto to the proverbial hilt, basking in its wide-eyed virtuosity, gushing ideas, and emotional generosity. The pianist’s
No matter how well-intentioned–and I’m sure that the five members of Ars Antiqua de Paris (countertenor, tenor, two baritones, and bass) offer these performances with
In the main, this excellently recorded but dully conducted Don Quixote adds up to an attractive calling card for cello soloist Alexander Rudin. His portrayal
The New Haydn Quartet departs from the usual in its second well-recorded disc of Tchaikovsky string quartets. Whereas many cycles customarily include the Souvenir de
In many respects Rachmaninov’s Second and Third Concertos are orchestral showpieces that happen to have big and difficult piano parts. More often than not, the
Oscar Fried’s Ninth is unquestionably the crown jewel of Polydor’s generally mediocre Beethoven Symphony cycle issued in the late 1920s and early ’30s. Recorded in
This generous CD of excerpts from Verdi’s Il trovatore is very good indeed. It contains more than half of the opera, comprising both of Leonora’s
Naxos appears to be surveying Scriabin’s piano works by genre, and assigning a different pianist at each post, so to speak. The Russian pianist Evgeny
So, the debate over how many singers and players to a part in Bach’s cantatas lives on. This time, it’s another vote for the Joshua