
It’s unfortunate that relatively few listeners will ever have heard Berlioz’s “other” masterpiece, the oratorio L’Enfance du Christ. Admittedly somewhat disjointed in its overall musical
Chausson’s occasionally recorded symphony had two powerful advocates in the 1950s and 60s, namely Charles Munch and Paul Paray, and their discs are considered classics.
Leila Josefowicz says in her booklet note for this release that her “tone is everything”. Indeed, it is her tone that impresses most on this
In recounting the premiere of his Requiem, Berlioz wrote “the terror inspired […..] was indescribable. One of the female choristers suffered an attack of nerves.
Martha Argerich has few peers in this repertoire today, and in terms of sheer spontaneity in performance she’s simply in a class of her own.