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Your guide to classical music online
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Your guide to classical music online
The Christopher Clarke fortepiano (based on an 1827 Graf model) that Andreas Staier uses for this Schubert recital stands out both for its striking variety
At 86, Arthur Rubinstein (the pianist always spelled his first name with an “h” in America) still played beautifully, as his 1973 Concertgebouw performances of
The principal attraction of this release lies in Andy Stein’s arrangement of “Death and the Maiden” for full orchestra (as opposed to, say, Mahler’s transcription
More often than not Lars Vogt lapses from provocative interpreter into affected micromanager over the course of Schubert’s great B-flat Sonata. His 23-minute timing for
This is a wonderful performance, full of color, energy, and stylish expression. It’s instructive to compare Charles Mackerras’ intelligent, comprehensive view of this work with
Sergey Koudriakov’s highly sectionalized treatment of Schubert’s D major sonata fastidiously pours over details at the expense of organic flow, spontaneity, and lyric simplicity. Consider
Richard Hickox’s small-scaled, period-practice approach gives Schubert’s Mass in E-flat an overall lighter feel than usual. The clearly defined instrumental textures and incisive phrasing sound
Martin Helmchen appears to be an earnest and fairly solid Schubert player, whose main attribute is not getting in the way of the scores. Nor
There seems to be a trend these days to inject a little extra character and drama into live performances of Schubert’s song-cycle Die schöne Müllerin,
In 2004 I raved about Leon Fleisher’s return to two-handed repertoire, and in particular his wonderful remake of Schubert’s final sonata, the work featured on
