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Gramophone Magazine

Gramophone Magazine October 2020

Gramophone enriches your classical music experience and connects you with great recordings. Packed with features across all classical music genres, our globally acclaimed writers will inform and entertain you with independent and intelligent editorial and more than 150 reviews in every issue. Our reputation is founded on our acclaimed critical analyses of the latest CD releases, in-depth features and interviews with classical stars, and our comprehensive coverage of recorded and live music. Please Note: This price excludes VAT which will be added when you checkout.

United Kingdom
Mark Allen Business & Leisure
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2 Min.
gramophone editor's choice

RECORDING OF THEMONTH BRITTEN Peter Grimes Sols incl Stuart Skelton; Bergen Philharmonic Choirs and Orchestra / Edward Gardner Chandos MIKE ASHMAN’S REVIEW IS ON PAGE 32 A powerful new recording of Peter Grimes from Stuart Skelton, one of today’s leading interpreters of the title role, and a conductor, Edward Gardner, who perfectly understands Britten’s music. BEETHOVEN Piano Concerto No 4 Kristian Bezuidenhout fp Freiburg Baroque Orchestra / Pablo Heras-Casado Harmonia Mundi Kristian Bezuidenhout delivers a thrilling performance of Beethoven’s Fourth Concerto, alive to all its details. REVIEW ON PAGE 34 DOWLAND A Fancy Bor Zuljan lute Ricercar A reflective, introspective and highly personal performance of Dowland’s music from Bor Zuljan, a lute player who draws deep emotions from both the music and his dark-toned instrument. REVIEW ON PAGE 59 ‘PORTRAITS DE LA FOLIE’ Stéphanie d’Oustrac mez Ensemble Amarillis / Héloïse Gaillard Harmonia Mundi ‘A typically…

5 Min.
for the record

ulian Bream, who has died aged 87, was a towering figure in the 20th-century classical guitar world, a musician whose dedication to his instrument left its reputation and repertoire infinitely stronger than it was when, aged 11, he first took it up. His legacy can be found in many modern works commissioned from some of the era’s leading composers, in a richly rewarding recording catalogue, and arguably in the number of young soloists whose path today is much smoother thanks to Bream’s dogged determination to forge the instrument the place in classical music it deserves. Yet it was on piano that Battersea-born Bream won a junior exhibition to the Royal College of Music, with cello as his second instrument – the guitar wasn’t yet taught there. National Service was spent mostly…

1 Min.
gramophone online

Podcasts The Gramophone Podcast continues with interviews with Robin Ticciati, Alondra de la Parra and Eric Whitacre. Ticciati, Principal Conductor of the DSO Berlin, has just released a Richard Strauss album that couples two tone-poems, Don Juan and Tod und Verklärung, with the six songs, Op 68, often called the Brentano songs, sung by Louise Alder. As Ticciati rehearsed at Glyndebourne for the much reduced 2020 season, James Jolly caught up with him to talk about the new album. Alondra de la Parra, keen to raise money to support charities in Mexico working to help women and children suffering abuse and violence during the pandemic, has created The Impossible Orchestra. With musicians from 14 different countries and recorded for video as well as audio, the orchestra is a stellar line-up of…

1 Min.
one to watch

Parker Ramsay Harp It’s unusual for a harpist to feature in this slot, although in truth Parker Ramsay is a man of many talents. At the age of 17 he was awarded the Organ Scholarship at King’s College, Cambridge – the first American to hold this post – where he served under the direction of the late Stephen Cleobury. As well as a degree in history, he has master’s degrees in historical keyboards (Oberlin Conservatory) and harp performance (Juilliard). The son of a harpist and a trombonist, Ramsay grew up in rural Tennessee, where he studied the harpsichord, organ and harp. In his role as Organ Scholar at King’s he has featured on various King’s College Choir recordings, but his first solo album is as a harpist, and is a very particular…

3 Min.
gramophone guide to … lied

While Lied means, simply, ‘song’, the word has come to denote a piano-accompanied Romantic song: the German equivalent of the French mélodie, with twin sources in the operatic aria and folksong. Centuries before Schubert, the term first became current in the secular Lieder by the Tyrolean poet-composer of courtly love, Oswald von Wolkenstein (c1377-1445). From the mid-15th century musicians including Heinrich Isaac cultivated the sub-genre of the Tenorlied. Tenor here signifies not the tenor voice but a borrowed melody, around which the other voices wove counterpoints. Synthesising Italian and German styles, Hans Leo Hassler (1564-1612) brought a new variety and expressive warmth to the Lied c1600. His love song ‘G’müt ist in mir verwirret’ became associated with the chorale ‘O Haupt voll Blut und Wunden’ familiar from Bach’s St Matthew Passion. With…

3 Min.
artists & their instruments

“The kaval is a wooden, hollow-tubed instrument with a cylindrical bore. It’s edge-blown, which means that you play it on the side of your mouth, although you hold it pointing down. As a member of the flute family, it’s a very old instrument – as old as humanity itself. I remember when I was studying in Vienna, and I saw a picture of a bone flute that was 35,000 years old. The kaval is made from wood from the Cornelian cherry tree – a very strong wood. It has four holes for the left hand, and four for the right. There are a further four holes at the bottom, but these are for acoustical purposes only. With overblowing, its range can cover up to three octaves. The kaval is the national instrument…