There is liberation in the timelessness of these songs and settings, be they old or brand new. And timelessness is what makes this quirky and haunting collection – a tapestry, if you like, of protest – memorable.…

Elfman’s Concerto for Orchestra Wunderkammer was written for the National Youth Orchestra and clearly designed to stretch and stimulate young imaginations – to say nothing of techniques. It’s a kind of Rubik Cube of orchestral possibilities. The…

A near perfect combo of works spanning the length and breadth of Carl Nielsen’s life’s work. The tone poem Pan and Syrinx should rightly come between the two big works but it makes for an impressionable curtain…

I’ve always admired the modesty and truthfulness of James Ehnes as a player – and you can hear that modesty at work in Phaedrus’ opening address from the Bernstein Serenade. There’s an unfussy directness about it that…

Bartok was never fully content with The Wooden Prince and this final revision marks an end to his tinkering. It is significant, I think, that all his trimming has to do with music explicitly related to stage…

The concept behind Mathieu Herzog’s Appassionato would seem to me to be one of chamber music (and the mindset implicit in that) transcending the number of players involved – a free and flexible approach with infinite possibilities.…

The Eighth is often the Mahler symphony that seems to inspire conductors who fall short in the others. That’s a sweeping generalisation, of course, but look no further than a conductor like Solti whose Mahler always struck…

The dedication on this album reads ‘In Memoriam Lars Vogt’ – and that gives it a special resonance. Christian Tetzslaff and his sister Tanja Tetzslaff made music with him together and independently on many occasions and in…

Respighi’s obsession with the ‘Eternal City’ is writ spectacularly large in his three symphonic evocations and maybe in some subliminal way an Italian orchestra like this one can identify better than most with the mythic elements, pictorial…

Like so much of what I’ve heard of Santtu’s work of late this Mahler 2 is decidedly hit and miss – with the emphasis, I regret to say, very much on the latter. It’s strange how the…