Aureole etc.

Golden Age singers

Nimbus on-line

Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider


paid for

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

Troubadisc Weinberg- TROCD01450

100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas
All Troubadisc reviews

FOGHORN Classics

Brahms String Quartets

All Foghorn Reviews

All HDTT reviews

Clarissa Bevilacqua plays
Augusta Read Thomas

all Nimbus reviews

Brahms Dvorak
Brahms 2 Dvorak 7
all tudor reviews



Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger


Discs for review may be sent to:
Jonathan Woolf
76 Lushes Road
Essex IG10 3QB
United Kingdom


alternatively Crotchet


Franz SCHUBERT (1797-1828)
CD 1
Piano Sonata in C minor D.958 [29:41]
Piano Sonata in A major D.959 [38:37]
CD 2
Piano Sonata in B flat major D.960 [42:18]
Piano Sonata in D major D.850 [37:14]
Leif Ove Andsnes (piano)
rec. August 2001, Lyndhurst Hall, Air Studios, London (D.959), October 2002, No. 1 Studio, Abbey Road, London (D.850), September 2004 (D.960) and April 2006 (D.958), Potton Hall, Suffolk. DDD
[68:28 + 79:37]


Experience Classicsonline

For the most part, it’s rare that I find so little to disagree with. Everything seems so right and in its place, yet a lot of thought must have gone into making it sound so. Andsnes knows, for example, that the first movement of the D major has to spin along at a fair clip to make its point, whereas the similar movements in the last three sonatas need to build up gradually. All these monumental first movements have their repeats – but there’s a beat missing in the lead-back in the B flat, probably an editing mistake. Second subjects flow at the same tempo as first subjects, there’s no self-indulgent rubato, slow movements are broad yet not stagnant.

And yet, at the risk of seeming ungrateful for so much caring artistry – and I mean artistry, not just playing – I began to wonder. Is it a mite too calm and collected? Could not the music take just a little more weight of expression? I felt, just slightly, the lack of an awkward Mr. Brendel to pull it around and do things to it, but maybe, also, to find sudden illumination, unexpected depths. Or maybe, even, the lack of stubborn Mr. Richter to find a granitic, uncompromising tension in it. I felt all this particularly in the C minor – couldn’t that final Tarantella sell its soul to the Devil just a little more?

My other slight worry was that the A major was rather different from the others. It has more immediacy, zest, drama. But it also scampers away in places. Some might prefer this. I found it pointed up the advantages of the other performances.

This is one of those cases where “blind listening” might induce a critic to diagnose two pianists at work. I recently commented, somewhat ironically, on a similar case with Monique Haas’s Ravel. As those recordings are about forty years old, a tape could conceivably have got mislabelled over the years. In the present case it’s obviously ridiculous to suppose anything of the kind, with dates and venues clearly stated and a pianist in full career. What it does show is, firstly, the way a different sound picture can alter our perception of a performance or performer. Evidently, Lyndhurst Hall Air Studios produce a more upfront, almost aggressive, sound compared with Abbey Road and Potton Hall – which do not sound particularly different.

It also shows how a young artist can develop in a short time, since the A major was set down first. The inference is that Andsnes himself thought it a bit too impetuous or impulsive and reacted accordingly. What we have, then, is a record of his evolving Schubert, a process which will doubtless continue all his life. I daresay, in ten years’ time he will have found how to recover the drama and immediacy of that earlier A major without losing the more mature structural control of the other performances.

In the meantime, this is nevertheless fully recommendable to those who don’t want every “i” double-dotted and every “t” double-crossed à la Brendel. I hope plenty more Schubert is planned.

Christopher Howell 



Advertising on

Donate and keep us afloat


New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews

all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews

All APR reviews

Lyrita recordings
All Lyrita Reviews


Wyastone New Releases
Obtain 10% discount

Recordings of the Month

November 2022
Bach Orchestral Suites

del Cinque
Del Cinque Cello sonatas

Fujita Mozart
Mao Fujita Mozart

Stanczyk Acousmatic Music


October 2022

Berg Violin Concerto
Violin Concerto Elmes

DEbussy Jeux
Debussy Jeux

Romantic pioano masters
Romantic Piano Masters

The future is female - Vol 2
Volume 2 - The Dance

impromptu harp music
Complete Harp Impromptus




Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews


      Composer surveys
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site


Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure



Bulletin Board

Give your opinions or seek answers

Pat and present

Helpers invited!

How Did I Miss That?

Currently suspended but there are a lot there with sound clips

Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Other links
Web News sites etc

A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools

Return to Review Index

Untitled Document

Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.