This month’s concert highlights from ABC Classic, independent radio and streaming.

Danes complete their Prism project, Bychkov delivers a blistering Resurrection, outstanding Beethoven from Ohlsson in the mountains, and Piers Lane goes to town . . . again!

Bychkov’s dramatic instincts craft a Resurrection full of light and shade.

Bychkov's new Mahler Five puts all the others in the shade.

Norman Lebrecht suggests that the Berlin Phil's decision to bypass the record industry by establishing their own label is the reason. Not so, says Gramophone.

The Russian conductor talks to Clive Paget about how he fell in love with the music of Mahler as a schoolboy back in Leningrad in the 1950s.

A wondrous start to Bychkov and the Czech Phil’s Mahler symphony cycle.

The piano leads the field with front runners Mitsuko Uchida and Leif Ove Andsnes, but first an auspicious start to a brand new Mahler cycle.

A wonderful Dvořák compendium worth checking out.

A fitting memorial to Czech music’s most vocal advocate.

Like encountering some extraordinary Pietà, listening to Dvořák’s grandiose evocation of Mary at the foot of the Cross leaves a lasting impression on the imagination. Written at a time when the composer was finally gaining recognition, it was to be the best and the worst of times. To have lost one child (as Dvořák did in 1875) was tragedy enough, but to lose his remaining two children the following year would have been more than most parents could bear. The surging opening of the Stabat Mater in particular witnesses to this deep grief. Bělohlávek and his forces harness all of this turbulent emotion, creating towering climaxes that immerse the listener in the crucifixion drama. Lasting nearly 20 minutes, the sonata-form first movement signals Dvořák’s intent to create a work in which his skills as symphonist, melodist, nationalist and believer are all given potent expression. To a large extent Dvořák succeeds in this artistic quest. The nine shorter, succeeding movements are creatively varied. After the Quis est homo in which we hear the well balanced solo quartet at close quarters, the pulsing, choral Eja Mater, fons amoris ushers one of the most striking movements of the work, Fac, ut ardeat. Here… Continue reading Get…

These recordings are not without poetry – it’s just that there’s not enough of it.