
The dominant lyrical and reflective aspects of Prokofiev’s Eighth and Ninth sonatas bring out the best in Peter Dmitriev. Each first movement benefits from the
The performance of Leonore Overture No. 3 tells you what to expect: the wonderfully flowing introduction, organically related to the tempo of the ensuing allegro,
Having proved his Messiaen mettle in the Catalogue d’oiseaux and Vingt Regards sur L’Enfant Jesus, pianist Martin Zehn continues his complete survey of this composer’s
Conducting an ensemble named the “Bruckner Orchestra Linz” at a venue called the “Brucknerhaus” in live concert in the 2003 Bruckner Festival, Dennis Russell Davies
This live Teatro Massimo recording of the “incomplete” version of Berg’s opera is something of an antidote to the Boulez/Stratas outing on DG. Where Boulez
This disc memorializes a single concert given on January 21, 1947, at which all three works received their premieres by the Basel Chamber Orchestra under
Eduardo Fernández transforms Bach’s lute suites into guitar music that is thoroughly idiomatic, stylistically sound, and expressive to the last drop. What’s more, Fernández’s astounding
Imagine a German Menotti and you will get a sense of the music of Bavarian-Swabian composer Werner Egk. Both write tuneful, dramatic, compelling, cloyingly dissonant
This beefy-voiced tenor from Belgrade is probably thrilling on stage. The voice is very big and the tone heroic but he can sing at a
This Missa solemnis seems to have clarity as its aim–a sharp, Boulez-like sound that strives to make every note audible. And David Zinman’s main mission