The success of Schubert’s Trout Quintet, with its unusual line-up featuring a double bass, has never inspired many composers to follow suit. Here Hamb(...)

One hundred years ago, suggests former Hilliard Ensemble tenor John Potter, “a song was just a song”. Any music could be popular. And then, he (...)

The Kuijken Quartet here is not the ensemble of old, a period-instruments group led by Sigiswald Kuijken and with his brother Wieland on cello. (...)

Christian Blackshaw continues his survey of Mozart’s piano sonatas in the style of the previous instalments.He treats four sonatas (K284, K332, K54(...)

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(...)