Classical Reviews
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New Zealand composer Jack Body (b. 1944) has, the notes tell us, written a considerable amount of ensemble, vocal, orchestral, film, music theater, and “electro-acoustic” music....

Expectations run high for a new Bluebeard , a work that has been recorded often enough, and recently enough—Marin Alsop/Naxos (2007), Valery Gergiev/LSO Live (2009), Ádám...


Recent Music Reviews

Back in Fanfare 37:4 I made a fool of myself––not for the first time, and probably not the last. In reviewing a disc of Florent Schmitt’s...

Alicia de Larrocha was a pianist of consummate artistry. I have enjoyed her work on repertoire as diverse as Schubert and Ravel—not to mention the Spanish...

As I have done before, I include Fanfare ’s icon for included text in the headnote, but add here the caveat that the texts and translations...

Not every day brings two CDs of Russian piano transcriptions, and if it did, how likely is it that both pianists play their own paraphrase of...


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This is an extremely well-thought-out collection, performed with skill and sensitivity by this German vocal ensemble, with friends. Copland, Barber, and Bernstein occupy one wing, as...

Willem Mengelberg’s recordings, made from 1926 to 1944, take us back more than a full century, to the era of Mahler and Nikisch, when Mengelberg’s interpretations...

This disc features cantatas for, what its title describes as, Trinity-Palmarum , the German Lutheran term for Palm Sunday. My first impression on hearing the disc...

This review violates my moratorium on new recordings of the ridiculously over-recorded Gaspard de la nuit , but this young Frenchman does stand out from the...

Recently in 37:3 I gave a mixed review to a CD of works by Carson Cooman, with one comment in that review leading to an opposing...

The “original music for violin and guitar” in the program assembled by violinist Gilles Colliard and guitarist Augustín Maruri all comes from early 19th century, and...


New Zealand composer Jack Body (b. 1944) has, the notes tell us, written a considerable amount of ensemble, vocal, orchestral, film, music theater, and “electro-acoustic” music....

Expectations run high for a new Bluebeard , a work that has been recorded often enough, and recently enough—Marin Alsop/Naxos (2007), Valery Gergiev/LSO Live (2009), Ádám...

Willem Mengelberg’s recordings, made from 1926 to 1944, take us back more than a full century, to the era of Mahler and Nikisch, when Mengelberg’s interpretations...

My previous experience in reviewing recordings by David Bernard and the Park Avenue Chamber Symphony has conditioned me to expect excellent results from them, and this...

The “original music for violin and guitar” in the program assembled by violinist Gilles Colliard and guitarist Augustín Maruri all comes from early 19th century, and...

I like great sound quality in a recording as much as the next guy, but when it comes down to sound or performance, I always value...

Not every day brings two CDs of Russian piano transcriptions, and if it did, how likely is it that both pianists play their own paraphrase of...

Giovanni Guglielmo’s and the Orchestra Barocca Andrea Palladio’s compilation of works written by Giuseppe Tartini and members of his School of Nations begins with one of...

Here, almost directly on the heels of the first volume, comes the second of the Conversationi , those Arcadian Academy concerts that were performed in the...

To say that this collection is a delight is to understate the case. On the first disc, containing arias from operas and operettas and formally composed...

This is an extremely well-thought-out collection, performed with skill and sensitivity by this German vocal ensemble, with friends. Copland, Barber, and Bernstein occupy one wing, as...

This release is a follow-up to the Anonymous 4’s 1994 Love’s Illusion (Harmonia Mundi 907109). That disc drew from the Montpellier Codex, focusing entirely on motets...

Not to throw cold water on this program’s theme—the Council of Constance (1414–1418) that ended the Three Popes Controversy, executed Jan Hus (after first requesting his...

The subtitle refers to “the end of the 1500s,” the time we know as the transition from Renaissance to Baroque, when madrigals (and similar songs bearing...