Ludovic Morlot here offers an unusual coupling which illustrates the impact of the aesthetic earthquake that redrew the boundaries of musical exper(...)

Friends and pupils for whom Dmitri Shostakovich played excerpts have left descriptions of the victory symphony he planned for the end of the second(...)

Wolfgang Rihm is a composer prepared to delve into the musical past as and when he pleases. He’s also a composer who likes to have his cake and(...)

This invigorating selection of Judith Weir’s choral music is nothing if not varied. There’s a millennium celebration of Perotin (All the E(...)

For the solo cello repertoire, the 19th century can look like an extended empty space between the Bach suites on the 18th- century side and Kodály’(...)

This strongly performed collection opens with Vaughan Williams’s folksily pastoral 1944 Oboe Concerto. The Scottish and Irish traditional music inf(...)

Since the 1980s, András Schiff moved from scepticism to active espousal regarding the use of 18th- and 19th-century pianos. He now seems to be (...)

Late Schumann is often dismissed, with the composer’s mental illness as a justification. Ann Murray, herself now in the sunset of a distinguish(...)

As a composer of songs,Schubert was such a gamechanger that his output has tended to overshadow even the songs of precursors as great as Haydn, Moz(...)

As a performer Brahms switched loyalty from Viennese pianos (though he played a Streicher at home) to the technically more advanced and stronger so(...)