Eminent Australian pianist Roger Woodward takes his hat off to the genius of Alexander Gavrylyuk.

“Representing no occasion, no immediate purpose but an appeal to eternity” was how Albert Einstein, (the music critic, not the physicist/philosopher) described Mozart’s last three symphonies. How can such sublime music exist without either social or creative context? They have, rightly, assumed an almost mystical aura. The late Nikolaus Harnoncourt always used to perform them together as he regarded them to be essentially one work. Simon Rattle and the Berlin Philharmonic have set new standards in these performances with the wind breathtakingly behind their virtuosic wings: everything seems perfect. I wish I had more space to expatiate on the adrenalin-charged felicities of these accounts. They embody a rare and wondrous fusion of both interpretive “worlds”: the heft and scale of a great symphony orchestra in full cry, with the drama and detail of historically informed or influenced approach. In the Symphony No 39, the clarinets seem more present than ever, and seem to enhance the cheerful bustle, especially in their most prominent appearance in the Trio of the Menuetto. I was glad Rattle observed the repeat in the finale, as, without it, the ending seems abrupt. In the G Minor, the opening mood reminded me of Benjamin Britten’s superb, late-60s…

An agile Helsinki Philharmonic under Storgårds perform convincingly on a sharp, high-quality recording.

Russian conductor Tugan Sokhiev’s recording of two Prokofiev symphonies and the Lieutenant Kijé Suite dates from his tenure as Music Director at the Deutsches Symphonie-Orchester Berlin. Prokofiev composed the score for Lieutenant Kijé, an early Soviet ‘sound’ film in 1933, the satirical premise of which revolves around a non-existent lieutenant who nonetheless manages to achieve impressive life milestones. Lively, musically illustrative (military marches, sleigh rides) and totally accessible, it’s a perfect curtain-raiser for Prokofiev’s Classical Symphony, so called for its use of reconfigured Haydn-like forms. These indications also permeate Prokofiev’s Seventh and last symphony, presented here with its more usual reworked ending, which Prokofiev was persuaded by his friend Samuil Samosud (and substantial prize money) to amend from the sombre original (Gergiev’s 2004 recording with the LSO is an instructive comparison). The sophistication of Prokofiev’s orchestrations and Sokhiev’s deft touch are highlighted by this excellent recording, which is crisp and sharp, with a very full bottom end and full spectrum of percussive richness. The dynamic variation is sprightly and delicate but still loaded with drama, fairly leaping out of the speakers as a result. Sokhiev’s earlier Sony recording of Prokofiev’s Fifth Symphony was very well-received by critics; this companion set…

Storgårds and the BBC Phil do this never less than fascinating music proud.

Few works of classical music have been as momentous or as misunderstood as Liszt’s Faust Symphony. Premiered in Weimar in 1857 to inaugurate the Goethe–Schiller Monument, as if it wasn’t massive enough already, the composer revised his 75-minute musical monolith three years later, adding a Chorus Mysticus for male voices and tenor soloist to the finale ahead of a second performance. Hans von Bülow, who conducted it from memory on that occasion, later turned on the work. “I have given that nonsense a thorough going-over! It’s sheer rubbish, absolute non-music! I don’t know which was greater, my horror or my disgust!” he declared sourly, though by then Liszt’s daughter Cosima had abandoned him for the charms of Richard Wagner – nuff said. Though he pretended not to be, Wagner himself was hugely influenced by Liszt’s technique of thematic metamorphosis, a method reaches its apogee in this work. Cast in three movements – Faust, Gretchen and Mephistopheles – the opening motif representing Faust himself is the first known use of a whole 12 tone scale, half a decade before the doings of Schoenberg and his crew. But perhaps Liszt’s masterstroke is the way he invents no new themes for the devil, simply…

Bold, high-energy Grieg from Kraggerud and the ACO.

The Australian pianist discusses his new Medtner and Rachmaninov disc, Limelight’s Recording of the Month for September. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Jayson Gillham: Lion Tamer: The Aussie pianist takes on two fairly fearsome musical beasts and wins.

In an exclusive interview with Limelight, Anna Netrebko speaks about life, art and the things she won't do anymore.

The Sydney Symphony Orchestra has been acknowledged for its longstanding artistic relationship with China.

A world-class Tristan and a handful of classical music’s biggest beasts are joined by a raft of top soloists and premieres. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in