With Shostakovich’s word-setting what happens between the words is, more than with any other composer I know (with the exception of Britten to whom the 14th Symphony is dedicated), reflected in what is happening between the notes.…
What a shrewd coupling: seemingly unlikely bedfellows united not just by dint of having both been written in Italy (the Walton, of course, at his retreat in Ischia) but by a certain something in the water…the Mediterranean,…
It is refreshing to encounter a singer – Robyn Allegra Parton – whose gifts of curation are it would seem fully equal to her musicianship. You might argue that the album’s artwork is a sprinkling of gold-leaf…
Vanska’s Mahler 9 arrives in the wake of Rattle’s recent Bayrischen Rundfunk recording – his third of the piece – and perhaps the quality most found wanting by comparison with Rattle is warmth. It’s true that this…
As with the first instalment of Nézet-Séguin’s symphonic Rachmaninov there’s a very real sense here of this music coming home, of a sound, a style, an ethos, in playing it that somehow – subliminally – gets passed…
Edward Seckerson drops in on Jenna Russell during the run of Richard Taylor/Rachel Wagstaff’s Flowers for Mrs Harris at London’s Riverside Studios. They compare notes on the show and on other movers and shakers who’ve been instrumental in pushing…
Kerson Leong’s splendid account of the Bruch comes hot on the heals of Ryan Goosby’s no less committed reading with Yannick Nézet-Séguin and the Philadelphia Orchestra. But there are notable differences in tone which might loosely be…
In collaboration with Crazy Coqs, London’s most prestigious cabaret venue, writer and broadcaster EDWARD SECKERSON is delighted to announce a brand new strand of exclusive conversation events featuring some of the biggest names from the world of music…
Jamie Muscato – the original Jason “J.D.” Dean in the now cult hit Heathers and currently the lovelorn Christian in Moulin Rouge – sits down with Edward Seckerson to talk Once, Bend It Like Beckham, and being Kelsey Grammer’s younger self in Big…
The curtain-raiser somewhat eclipses the main event in this instance. Why we don’t hear more of Bartok’s Four Orchestral Pieces I cannot imagine – their relative compactness belies a breadth and depth and drama that calls to…
