English masterpieces by Elgar and Vaughan Williams in superbly played programme.

Argentine cellist Sol Gabetta catapulted into public consciousness when she won the Crédit Suisse Young Artist Award in 2004 and subsequently debuted with the Vienna Philharmonic and Valery Gergiev. She was 23 then, but had won her first competition at the age of ten, and now enjoys a hectic international career as one of the world’s most famous and highly-regarded cellists. Her wide-ranging repertoire includes three albums of works by Vivaldi and his contemporaries, recorded with Capella Gabetta, the ensemble she founded with her brother Andrés. In addition to core 19th-century repertoire, she is also committed to contemporary compositions, and has recorded an album of works by Latvian composer Pe¯teris Vasks which included his Second Cello Concerto, written especially for Gabetta. This latest album features two 20th-century masterworks – the first, arguably the most famous cello concerto in the repertoire; the second, virtually unknown by comparison. Elgar’s concerto was written in 1919, with the dark pall of WWI hanging heavily upon its composer, who wrote, next to its entry in his catalogue of works, “Finis. R.I.P.”. Its 1919 premiere was a disaster, and it languished in popularity until recorded by Jacqueline du Pré in 1965 (incredibly, she was only 20)… Continue reading Get…

The British conductor talks about the importance of mystery in his new Elgar disc, Limelight’s Recording of the Month. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

A dignified performance, but does it come close to Bernstein's Enigma?

The Canadian violinist reveals the importance of Elgar in his life and why Respighi isn’t for the living room. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Vaughan Williams at his earthiest, and masterpieces by Bach, Elgar and Mendelssohn are on the bill for 2017. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Neat programming sees old and new meet borrowed and bluesy.

★★★★☆ Insightful concept packed with percussive thrills and spills. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Music has always been great propaganda, but over the centuries Britain’s royalty have turned it into an art form. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

New Chief Conductor’s impressive Beethoven and stellar Elgar hits the Digital Concert Hall. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

★★★★☆ Editor’s Choice: Vocal & Chroal, June 2015 So obsessed were the white anglo-saxon protestant citizens of late Victorian England with the “punishment of wickedness and vice, and the maintenance of true religion and virtue” (to use Thomas Cranmer’s phrase) that they were content even for a talented Roman Catholic like Edward Elgar to feed them stories that reinforced the prevailing ‘muscular Christianity’. St George and the dragon was an obvious subject, not least when Queen Victoria celebrated her diamond jubilee in 1897. For The Banner of Saint George Elgar was provided with poetry that was far from accomplished, but he used his considerable skill in orchestration to create evocative soundscapes, especially as he depicts the slaying of the dragon. On the other hand, there are times (as in the epilogue) when I can’t help wondering whether Elgar has his tongue firmly planted in his cheek. In any event, Sir Andrew Davis and his forces give a rousing and fully committed account of a work that was to become immensely popular… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Daniel Barenboim recorded a fine Elgar Falstaff with the London Philharmonic in 1974 so it is touching that he should program the work 40 years later for this Europakonzert recorded in Berlin’s Philharmonie. It is thrilling to hear players rip into the piece as though it were Don Juan or Till Eulenspiegel and the performance emphasises Elgar’s affinity with Strauss. The big moments come across with visceral impact while the gentle reflective moments are breathtakingly beautiful.  Tchaikovsky’s Fifth Symphony may divide opinion; those who believe the Russian way is the only way will turn their noses up, but those with open ears will recognise a deeply emotional reading with broad tempi and grandly moulded gestures. Barenboim goes straight through with barely a breath between movements, and his conducting is a miracle of economy; there are big rallentandi and obvious gear changes but they are always organic and the orchestra stick to him like glue. Tonal resources mean there’s always something in reserve and the huge climaxes are always rounded; an iron fist in a velvet glove. Individual contributions are predictably superb but principal clarinettist Wenzel Fuchs stands… Continue reading Get unlimited digital access from $4 per month Subscribe Already a…