
Robert Fuchs (1847-1927) is best known today as the composition teacher of Mahler, Sibelius, Enesco, Korngold, Schreker, Zemlinsky, and just about everyone else who happened
Vasily Petrenko’s take on the First Symphony is swift and youthful, as befits this precocious early work. In the first movement he doesn’t wring every
Gabriela Lena Frank is the real deal: a modern composer with a personal style, one that manages to integrate a wide range of sounds and
Back in my college days my music-loving friends and I would amuse ourselves perusing the letters section of Gramophone magazine, and every so often a
This fine disc makes a superb introduction to Frank Bridge’s orchestral music. The performance of Enter Spring has greater clarity and rhythmic spring than Richard
Robert Craft’s performance of The Rite of Spring, rescued from oblivion on Koch, proves that in the early ballets he can be both accurate as
Beethoven’s string trios stand among his earliest masterpieces, fully the equal of his early quartets. They are the greatest works in their medium after Mozart’s
Perhaps it’s the passage of time, or it’s simply the New Zealand String Quartet’s embracing, unselfconscious style and illuminating technique, but the atonal sounds of
This is such attractive, pleasant music–I have to partly agree with some contemporary critics who apparently “complained” that Haydn’s late Masses (including these two) were
Gerard Schwarz and his Seattle forces turn in an absolutely terrific Sheherazade: voluptuous, exotic, with a nice flexibility of pulse, but also very exciting. You