Grade: B+ The 20th century, eh? What a lark that was. Vladimir Dukelsky studied in Kiev under Glière and looked set to be one of the smarter Russian composers of his generation. He even wrote a ballet for Diaghilev. Then communism happened and Dukelsky ended up in the USA where to the bemusement of his
Grade: A Bohuslav Martinu was a patchy composer; worse, he was also a prolific one, meaning that if you dip into his music at random you never quite know if you’re going to have your day made, or just half an hour wasted. Ideally, you need someone to do the choosing for you, and praise
Grade: B- ‘I feel within myself a constant dialogue between my masculinity, my femininity and the part of me that is neither of those things. I’m just trying to talk about it because I feel like I’m something that is very ambiguous,’ explains lead singer and songwriter Adrianne Lenker. This may explain why the first
Grade: B Here’s a blind-listening game for you: spot the difference between proficiency and genius. Kazuki Yamada and his Monte-Carlo orchestra have recorded three first symphonies by three 19th-century French composers. With a few barnstorming exceptions (I’m looking at you, Berlioz), the French never really got the hang of the romantic symphony. Berlioz recounts with
Grade: C In the 1990s the young Italian pianist Giovanni Bellucci gave us a reading of Beethoven’s Hammerklavier Sonata whose thrilling athleticism bore comparison with those of Maurizio Pollini and Charles Rosen. A few years later Bellucci began a complete cycle of the piano sonatas – but, rather than include his existing Hammerklavier, he produced
Grade: B Everyone loves the music of Johann Sebastian Bach. Rather fewer people love the sound of an unaccompanied organ, so a cottage industry has developed among conductors and composers, retrofitting Bach for full orchestra. From Elgar and Mahler to showman-maestros like Stokowski and Henry Wood, orchestral Bach transcriptions have tended towards the spectacular, and
Grade: B+ There’s quite a lot to dislike about Wet Leg, even aside from their stupid name. The entirety of their lyrical canon, for starters – vapid and petulant millennial inanities, 50 per cent performative braggadocio, 50 per cent adolescent carping. Or there’s the commodification of their sexualities: they’ve traded up to being bi, just
Grade: A– There’s a classic trajectory for British composers: a five-decade evolution from Angry Young Man to Pillar of the Establishment. Right now, you can watch it happening in real time to Thomas Adès and Mark-Anthony Turnage – inevitably, unwittingly, falling unto the pattern established by Sir Arthur Bliss, who shocked critics in the 1920s
Grade: B+ These are gloomy days, so here’s a burst of melody and colour to cheer you up. Back in the LP era it wasn’t unusual for classical recordings to be put together like a concert that you might actually want to hear: a sequence of works by different but complementary composers, offering the possibility
Grade: A+ The kids with their synths and hip producers, dragging the 1980s back: I wish they would stop. It was, in the main, an awful decade for music, the bands trite yet portentous, the stupid burbling bass guitars, hubris-stricken vocals and tinny drums. The kids retread all the dross. Yet if you were actually
Grade: A It’s clearance-sale time for the great classical labels of the 20th century. As streaming platforms drain the remaining value out of once-prestigious recorded catalogues, even B-listers are being pulled up from the vaults and remastered for one last re-release. Eleven-disc Rafael Frühbeck de Burgos edition? Walter Weller’s complete Decca recordings? Now’s your chance:
Grade: B+ You are in the wrong hands here for what is a homage to this duo’s favourite electronic music. The only Radiohead album I like is the guitar-driven Pablo Honey (and I wasn’t terribly mad on that to be honest.) My inclination is to mark down the genre itself, for its wafting and beeping
Grade: A Is that a kind of nod to Oasis in the album title? I can’t think of a band less like that grunting Manc convocation, except in the fact that BCNR are just about the biggest band in the country right now, as the Gallagher bros were all those years ago. Vocalist (of a
Grade: A Maurice Ravel was tougher than he looked. True, he dressed like a dandy and wrote an opera about a dancing teapot. But when he was rejected for military service in the first world war (he was 39 and 5ft) he practically forced his way to the front line as a lorry driver –
Grade: B+ Satan’s devoted groupies Cradle of Filth are back with their shrieking, howling, portentous, Exorcist-style incantations, 30 years after effectively inventing the loser-boy goth-metal offshoot, black metal. They’ve got quite good at it. Rapid-paced minor-chord hard rawk, much as AC/DC might have churned out if someone had shown them some Edgar Allan Poe and
Grade: A– There’s a species of music-lover who enjoys pointing out that Elgar isn’t played much on the Continent – the musical equivalent of those social media bores who pop up each April to reveal that Saint George was Turkish, ackshully. It’s all rot, of course. Some of the best Elgar performances of recent years
Grade: B When a music-lover is tired of Haydn’s London symphonies, they’re tired of life. It’s not just the sheer creative verve of these 12 symphonies by a composer in his sixties. It’s the generosity of spirit. Beethoven demands a battle of wills; Mozart a near-impossible grace. But a conductor can run straight at a
Grade: A Hell, there’s a lot not to like, or even to be a little suspicious of, with this young woman. Her politics are, as you might have guessed, banal and stupid. She has been in a relationship with the ghastly Matty Healy of the 1975. But she has huge talent and is probably a
Grade: A+ In a desperate wish to avoid the appellation of a derided genre, this young man from Asheville, North Carolina has been described by the press as Americana, slacker rock, indie and alt-country. But we at The Spectator will call it how it is: this is country rock, pure and simple. And if country
Grade: A When Beethoven’s Hammerklavier Sonata was published in 1818, pianists were confronted with a mixture of ‘demonic energy and a torrent of dissonances’, as Charles Rosen put it. Only the most freakishly gifted virtuosos could tackle it. The first recording was by Artur Schnabel, whose heroic assault on the finale sent wrong notes scattering
