Classical music’s talent-spotting schemes don’t always work - as witness the fortysomethings desperately trying to recreate their brief fame as 'BBC young musician of the year' - but Radio 3's New Generation Artist scheme is an exception. Successive concerts by two NGA ensembles this week reinforced the point that this title is a copper-bottomed accolade.
The tears of a clown bring the audience down
Ukelele lessons may be rewarding for those whowant to learn a new skill – but only if they possess some musical talent
Wieder-Atherton's recital with fellow cellists Sarah Lancu and Matthieu Lejeune fashions an elegaic narrative from music by "two geniuses outside their own times": Claudio Monteverdi and Giacinto Scelsi.
Isserlis's collection flirts madly with profundity and schmaltz.
Written for Rostropovich, Britten's Cello Symphony is a concerto in all but name.
The woody – even Acker Bilk-ish – sound of a clarinet tootling Nino Rota's title-theme from Fellini's Amarcord against the clip-clop rhythm of double bass and plucked cello must be one of the most nostalgic musical experiences imaginable.
The Dunedin Consort's premiere recording of Joshua Rifkin's scholarly edition of Bach's B-minor Mass has many attractive features: the emphatic "k" that launches the first Kyrie (the orchestra sounding on the vowel), closely dovetailed count-erpoint, gorgeous playing from David Watkin (cello), Katy Bircher (flute) and Patrick Beaugirard (oboe), and a calm but purposeful sense of narrative.
A slight astringency of tone is all that keeps the Pavel Haas Quartet a notch below the Jerusalem and Belcea Quartets.
Pity poor Mark "E" Everett: beleaguered by a family background pock-marked with mad genius, suicide and cancer, he's no sooner finally come to terms with turbulent desire in last year's Hombre Loco than he's left shattered by break-up, contemplating End Times.
Chopin's anniversary avalanche is already in full swing, with this disc by Sweden's highest-flying young cellist leading the field in that instrument.
It's taken David Gray four years to follow up Life in Slow Motion, and frankly, you have to wonder what's been holding him up, as these 11 pleasant, predictable songs represent no great development or deviation from the course of his previous work.
The world's most austere composer drove taxis until he was 42. He reveals how his fastidious life informs his music
Pieter Wispelway's recital is a thing of wild beauty. Here is William Walton at his least superficial, in the bold planes of his 1956 Cello Concerto and the bitter "Passacaglia".
The cello and piano piece Patterns in a Chromatic Field dates from the early 1980s, when Feldman's fascination with subtly asymmetric patternings was yielding to the obsession with stasis that would lead to monumental epics.
Peer who fooled the medical world with a letter to the British Medical Journal in 1974 finally comes clean