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Your guide to classical music online
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Your guide to classical music online
I can understand how Alain Planès’ impressive dynamic range, tempo fluctuations, and penchant for surprising accents address the “Sturm und Drang” qualities that run rampant
Nikolaus Harnoncourt’s first recording of The Creation was a dud, and so is this remake. It’s odd, because you would expect him to be right
I’m not a big fan of the quartet version of the original orchestral work, and the Emerson Quartet really throws down the gauntlet in this
In an age where pianists habitually record complete cycles or lump together works in the same genre, it’s nice to see Sang Mi Chung opt
Dejan Lazic sometimes strikes me as sort of like Ivo Pogorelich with the sonority of Olli Mustonen. Certainly his dry timbre and occasional fits of
Had German pianist Elly Ney (1882-1968) not been a Nazi sympathizer her career probably would have flourished outside her native country. Because her discography embraced
The title and repertoire suggest a kind of modified Piano’s Greatest Hits with Garrick Ohlsson at the keyboard. It’s only when you break the shrink-wrap
Hermann Scherchen always could be counted on to deliver exciting if idiosyncratic performances of music ranging from the Baroque to the avant-garde of his day.
Karl Böhm left a huge recorded legacy sharply focused on the central Austro-German classics and on 20th century heirs such as Berg and Strauss. For
The Lindsay’s vulgar, abusive, seedy-toned, badly tuned, harshly recorded, bull-in-a-china-shop approach to the first three of Haydn’s Op. 76 quartets turns up again in this
