A life in music: Once confined to art galleries, Philip Glass's minimalism now attracts huge, mainstream audiences. Now 70, he celebrates a bright future for serious music.
If the regular arrival of new recordings is any kind of accurate guide, Robert Levin’s version of Mozart’s Requiem, which remained unfinished at the composer’s death, is beginning to supplant the traditional Süssmayer completion. Charles Mackerras’s account makes the best … Continue reading →
With Britpop’s memory kept alive by books and documentary films, it’s easy to forget that the mid-1990s were also a high-water mark for dance music. It saw the rise of a series of artists who seemed capable of transforming club … Continue reading →
After two albums of sweepingly fresh and open improvisation in which Keith Jarrett despatched any lingering objections that his ceaseless work-rate over 30 years had burned out his spontaneity, here comes another standards album to celebrate the 20th anniversary of … Continue reading →
The generation of Russian performers to which the pianists Tatiana Nikolayeva and Sviatoslav Richter as well as the original members of the Borodin Quartet belonged were Shostakovich’s contemporaries, and their recordings of his major works, together with those of Mstislav … Continue reading →
Literary inspirations lie behind the 16 pieces that make up Koechlin’s delectable cycle: fin-de-siècle travels to the Middle East, the exotically coloured novels of Pierre Loti and the Arabian Nights. The sequence, beautifully and unaffectedly played by Kathryn Stott, portrays … Continue reading →