
Having attended a remarkable concert performance of Tchaikovsky’s Eugene Onegin conducted by Alexander Vedernikov (in Montreal in September, 2003), I hoped to be able to
The tentative sound of the trumpets at the beginning of Tchaikovsky’s Capricco Italien does not bode well for this disc. But as the orchestra enters,
In the 1950s, under William Steinberg, the Pittsburgh Symphony Orchestra never reached the same level as, say, the Philadelphia Orchestra of the same decade under
Igor Markevitch was one of the greats, as can be heard in the overdue reissue of Tchaikovsky’s Manfred Symphony that opens this set. (Markevitch’s Manfred
Busoni’s transcription of the Bach Toccata, Adagio and Fugue BWV 564 largely brings out the best in Evgeny Kissin’s protean technique. He revels in the
The performances on this disc are predictably fine–vintage Stokowski in fact–and not too badly recorded given their provenance (Royal Albert Hall, 1969). There’s only one
While it’s generally accepted that Mikhail Ivanovich Glinka (1804-57) was the “father” of Russian music in the 19th century, his music is not performed very
Glinka’s overture to Ruslan and Lyudmila is one of the few works that you can judge simply by looking at the timing. Since the music
Here’s a welcome newcomer to CD. Solti’s remarkable collection of Russian favorites really benefits from this excellent remastering–and the performances are as exciting as it