
Yuri Temirkanov makes Prokofiev’s well-worn Classical Symphony sound invitingly fresh through his swift tempos and painstaking observance of rhythm, accent, and dynamic contrast. The outer
We can take for granted that the digital dexterity on this disc will be of the highest quality, and so from a purely technical point
Because so many of Charles Munch’s recordings made during his years with the Boston Symphony (1949-1962) are still in the catalog, the conductor seems almost
Originally issued by Music and Arts, Diane Walsh’s 1990 recital devoted to four pianistic pillars from the first half of the 20th century receives a
Prokofiev’s Sixth Sonata may not match the Seventh’s war-horse status, yet it too has been served by many first-rate recordings, from umpteen Sviatoslav Richter versions
Ilya Gringolts is one sensational violinist. From a purely technical point of view, the playing on offer here is nothing short of astounding. The performance
Leonard Bernstein’s 1959 New York Philharmonic Rite of Spring is one of the classic performances, eliciting an enthusiastic “Wow!” from Stravinsky himself. This later (1972)
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
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,
Viktoria Postnikova spreads her prodigious talents evenly over Prokofiev’s most (No. 1) and least (Nos. 4 & 5) popular piano concertos. In the compact No.