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Paul McNulty ‘s 2007 fortepiano based on a Conrad Graf model circa 1819 served Ronald Brautigam’s Haydn, Mozart and Beethoven solo recordings wonderfully well, and
Having recorded Liszt’s two-piano arrangements of his symphonic poems, Leslie Howard and Mattia Ometto now bring their considerable duo expertise to Liszt’s Faust and Dante
This is one of the best recordings yet to come from the Michael Tilson Thomas/San Francisco Symphony partnership. Tilson Thomas has long established his credentials
Michael Tilson Thomas’ long association with the music of George Gershwin results in performances so idiomatic they could be categorized as (almost) definitive. In all
These two pieces go well together: both have first movements based on the same four-note motive, but Beethoven puts it to very different expressive use.
Reviews
These three discs contain a goodly quantity of Reger’s orchestral
This music grows on you. Unlike most of Pettersson’s other […]
Saramouche is, after Kullervo, Sibelius’ largest work in any form, […]
The French pianist Catherine Collard had brief affiliations with the […]
To those who follow and truly care about these things, […]
If you think of Paul Dukas as a Mickey-Mouse composer, […]
Paul McNulty ‘s 2007 fortepiano based on a Conrad Graf model circa 1819 served Ronald Brautigam’s Haydn, Mozart and Beethoven solo recordings wonderfully well, and
Having recorded Liszt’s two-piano arrangements of his symphonic poems, Leslie Howard and Mattia Ometto now bring their considerable duo expertise to Liszt’s Faust and Dante
This is one of the best recordings yet to come from the Michael Tilson Thomas/San Francisco Symphony partnership. Tilson Thomas has long established his credentials
Michael Tilson Thomas’ long association with the music of George Gershwin results in performances so idiomatic they could be categorized as (almost) definitive. In all
These two pieces go well together: both have first movements based on the same four-note motive, but Beethoven puts it to very different expressive use.
Even if someone thought pairing Brahms’ echt-romantic Symphony No. 2 with Leif Segerstam’s quasi-modernist Symphony No. 289 would make a fetching CD, it’s hard to
Review: Savall's Profoundly Perverse, Problematic Mendelssohn Midsummer Night's Dream
Mendelssohn: A Midsummer Night's Dream (complete incidental music, English and German versions, with and without the words in both languages). Soloists, La Capella Nacional de Catalunya, Le Concert des Nations, Jordi Savall (cond.) Alia Vox (4 CDs + book)
A Eugene Ormandy Retrospecive (The RCA Recordings 6)
Featuring works by Wagner, Tchaikovsky, Respighi and Mendelssohn--some vintage Ormandy and some unnecessary remakes.
The Greatest Recordings EVER! Berlioz: Overtures chez Munch
Berlioz: Overtures (Roman Carnival, Le corsaire, Benvenuto Cellini, Beatrice and Benedict, Royal Hunt and Storm from Les Troyens, "Queen Mab" Scherzo from Romeo and Juliet). Boston Symphony Orchestra, Charles Munch (cond.) RCA
The Greatest Recordings EVER! Wagner: Ring Excerpts by Szell
Wagner: Orchestral Music from The Ring of the Nibelungen. The Cleveland Orchestra, George Szell (cond.) Sony Classical
Review: Gardner's Next Nielsen--Almost Great
Nielsen: Pan and Syrinx, Flute Concerto, Symphony No. 3 "Sinfonia Espansiva." Adam Walker (flute), Bergen Philharmonic Orchestra, Edward Gardner (cond.) Chandos
Review: Stupid Ring Excerpts on Alpha
Wagner: Ring Odyssey. Soloists, Orchestra National Bordeaux Acquitaine, Joseph Swenson (cond.) Alpha
This year’s Tanglewood on Parade, a much-anticipated tradition that dates to 1940, will celebrate the life and legacy
April 24, 2024—GRAMMY®-winning production house PARMA Recordings announced today its acquisition of Albany Records. The classical label is
Parry Sound, Ontario, Canada—The Festival of the Sound is celebrating big this summer with an incredible line-up of
