Classics Today
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ClassicsToday.com, the world's first online classical music magazine, offers professional reviews of both new and reissued recordings and videos. Comprehensive review coverage of new classical music recordings that's both accurate and completely up-to-date backed by a clear, 1-10 rating system of both performance and sound.
Classics Today
3d ago
Recorded in June 2022, this Schubert disc documents Maurizio Pollini’s final visit to the recording studio. He broaches the first movement of the composer’s G Major Sonata impatiently and tersely, sometimes to the point of rushing through phrases or shortchanging final beats of certain bars. This applies to all four movements, whether overpedaling in the ..read more
Classics Today
3d ago
I never thought I’d live to see the day when […]
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Classics Today
3d ago
Why is it that BMG/Sony or whatever they are called […]
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Classics Today
3d ago
Most all of this material has been reissued previously, but […]
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Classics Today
3d ago
If you’re new to the music of Anton Webern, this superb budget CD is just the introduction you need. Until now, there’s been nothing much to tempt those unwilling to pay top price for Herbert von Karajan’s seminal recordings, or the equally engrossing and sometimes more revelatory DG remakes with the Berlin Philharmonic under Pierre ..read more
Classics Today
3d ago
Bruckner’s symphonies don’t easily lend themselves to piano reductions. The problem largely lies within the composer’s long stretches of string tremolos. If one literally replicates these effects on the piano, they sound like the worst clichés of silent movie accompaniments and grow instantly tedious. However, in their world premier recording of Hermann Behn’s two-piano Seventh ..read more
Classics Today
1w ago
What is the deal with Christoph Eschenbach? His recent work […]
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Classics Today
1w ago
This recording constitutes nothing less than a landmark in both […]
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Classics Today
1w ago
If you somehow missed each individual release in the Amar […]
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Classics Today
1w ago
Martyn Brabbins deserves credit for playing Hindemith utterly without that clunky, Teutonic heaviness that can make so many performances of this music (including many of the composer’s own) so unappetizing. The finale of Mathis der Maler, in particular, has plenty of forward momentum, which also describes the second movement of the Concert Music and the ..read more