How I rate concerts and media / recordings. Rating criteria, scale(s) and detail, how one should / should not read my ratings, their “value”, pitfalls, shortcomings & limitations.
A short review with a brief comparison of several recordings of the six Sonatas for Solo Violin, op.27 by Eugène Ysaÿe (1858 – 1931), featuring recordings by Oscar Shumsky (1982), Frank Peter Zimmerman (1994), Thomas Zehetmair (2002), and Kristóf Baráti (2013), and a brief outlook to further recordings.
Alexandra Oehler playing piano music by two (nearly) forgotten composers: sonatas by Ludwig van Beethoven’s pupil Ferdinand Ries (1784 – 1838), and compositions by pianist and Johannes Brahms’ friend Ignaz Brüll (1846 – 1907)
The three clarinet concertos (E♭ major, op.1; F minor, op.5; B♭ major, op.11) by Bernhard Henrik Crusell (1775 – 1838), in two recordings: Emma Johnson (RPO and ECO, various conductors, 1986 – 1991), and the 2008 recording with Martin Fröst (Okko Kamu, Gothenburg Symphony Orchestra)
Robert Schumann’s Cello Concerto in A minor, op.129, in the new recording with Jean-Guihen Queyras and the Freiburg Baroque Orchestra, directed by Pablo Heras-Casado, compared to legacy recordings with Gregor Piatigorsky & Sir John Babirolli / London Philharmonic Orchestra (1934) and Mstislav Rostropovich & Gennadi Rozhdestvensky / Leningrad Philharmonic Orchestra (1961)
Robert Schumann’s Violin Concerto in D minor (WoO 1 [H/K WoO 23]), in the new recording with Isabelle Faust and the Freiburg Baroque Orchestra, directed by Pablo Heras-Casado, compared to a recording with Christian Tetzlaff and Paavo Järvi / RSO Frankfurt