
These performances were first released in 1995 as part of a two-disc “Martha Argerich and Friends” Schumann chamber music collection, and it’s great to have
The opening Adagio of Tomas Svoboda’s half-hour length piano trio Van Gogh begins in groaning, sustained string sonorities laced with reassuring piano droplets. Gradually the
This first-rate collection has no weak links at all: Karajan’s La Mer, Tilson Thomas’ Boston Symphony recording of Prelude to the Afternoon of a Faun,
The recorded legacy of Daniil Shafran (1923-97) is huge, appearing during the Soviet era on the Melodiya label, though it’s still under-represented on CD. Cello
This CD is fairly primitive by contemporary engineering standards, with performances that are rough-hewn and strident. Marina Tarasova uses what sounds like the hardest grade
Bartók is the invisible presence on this CD of (mostly) 20th century cello music by Hungarian composers since his stylistic fingerprints are on most of
Tatiana Vassilieva plays Stravinsky’s Suite Italienne with heavyweight bowing and a ruthless attack that’s unsuitable for the commedia dell’arte idiom of this work. Textually, several
Young Finnish composer Kimmo Hakola, a student of Rautavaara and Magnus Lindberg, offers some fast and furious chamber music on this disc. His compositional technique
Following its successful Schubert and Schönberg series, the Leipzig Quartet scores again. This time, the German ensemble has chosen Brahms, and its affectionate performances rise
Blues and Bottesini is a more apt title for this album of double bass concertos. Anyone familiar with Edgar Meyer’s recent best-selling bluegrass/classical collaborations (“Appalachia