Hyperion
Concert halls and opera houses remain closed — but unusual musical experiences await in this era of social isolation.
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It’s Beethoven’s 250th birthday year: reviews of four sets of the complete piano concertos from, respectively, Paul Lewis, Stewart Goodyear, Inon Barnatan, and Stephen Hough.
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Pianist Thomas Adès proves himself a sympathetic champion of Czech composer Leoš Janáček; it’s not often that a Schumann-Mendelssohn album focuses on the music of Clara and Fanny (rather than Robert and Felix); Jenny Lin’s performances of piano pieces by Philip Glass don’t lack for style or technical command.
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It took more than a century, but Amy Beach’s Piano Quintet has finally got the recording it deserves; it would be hard to beat the all-star line-up featured in The Cave of Wondrous Voice; and ready for some flawless Shostakovich?
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James MacMillan’s Viola Concert is a magnificent addition to the repertoire; the debut recording of Magnus Lindberg’s song cycle Accused leaves a bit to be desired; a fetching, brilliant gathering of orchestral music by Sir Richard Rodney Bennett.
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Akademie für Alte Musik Berlin’s pairing of Beethoven with Knecht is intelligent, programmatically and musically, but Thierry Fischer’s Symphony fantastique is a disappointing misfire.
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This CD with British pianist Stephen Hough is a gem — and it was named Recording of the Month by Gramophone Magazine.
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Simon Rattle’s Bruckner is, on the whole, lean and lively; if you’re looking for a new Mahler Four, Vladimir Jurowski’s is the one to check out; Thierry Fischer leads performances of each symphony that take Saint-Saëns’ writing seriously.
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This is a gem of a recording, a wonderful introduction to this often overlooked Hungarian composer.
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Reviews of three superior vocal recordings, featuring baritone Gerald Finley, tenor Ian Bostridge, and baritone Thomas Meglioranza.
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