Sign In (/user/login)

Subscribe (/subscribe)

Latest issue (/latest-issue/april-2016)

Reviews Database (/reviews)

Register (/user/register)

A (#)

A (#)

Digital Archive (/classical-music-news/gramophone-launches-new-digital-archive-app)

Podcasts (https://itunes.apple.com/gb/podcast/the-gramophone-magazine/id944184210)

Facebook (http://www.facebook.com/pages/Gramophone/87870680838)

Twitter (http://twitter.com/gramophonemag)

Youtube (http://www.youtube.com/user/GramophoneMagazine)

The Archive
90 years of Gramophone now at
your fingertips
(http://adserver.adtech.de/?
adlink/1211/5009240/0/225/AdId=14217216;BnId=2;itime=265329679;key=Wolfgang%2520Amadeus%

(http://www.gramophone.co.uk/

2520Mozart;)

/classical-musicnews/gramophone-launchesnew-digital-archive-app)

Search

Go

(http://adserver.adtech.de/?
adlink/1211/5009240/0/225/AdId=14217216;BnId=2;itime=265329679;key=Wolfgang%2520Amadeus%

Est 1923

2520Mozart;)
(/)

HOME

REVIEWS

COMPOSERS

NEWS

FEATURES

(/)

(/REVIEWS)

(/COMPOSERS)

(/CLASSICAL-MUSIC-NEWS)

(/FEATURES)

AWARDS

HALL OF FAME

BLOGS

FORUM

SUBSCRIBE

(HTTP://WWW.GRAMOPHONE.CO.UK/AWARDS/2015)

(/HALLOFFAME)

(/BLOG/ALL)

(/FORUM)

(/SUBSCRIBE)

Home (/) Features (/features) The best recording of Mozarts Sinfonia concertante for violin and viola

The best recording of Mozarts Sinfonia concertante for

violin and viola
Richard Wigmore (/users/richard-wigmore)

Mon 25th January 2016

The viola has equal billing with the violin in Mozarts

celebrated work, but the players dont always reflect
this. Richard Wigmore surveys the available
recordings for those which address the balance most
effectively
The Sinfonia concertante in E flat for violin and viola,

Follow us

(http://www.facebook.com/GramophoneMagazin
(//twitter.com/gramophonemag)

(https://plus.google.com/115887304357022119

(http://www.youtube.com/user/GramophoneMag
sub_confirmation=1)

K364, is an iconic work for many Mozart

(/composers/wolfgang-amadeus-mozart-38324) lovers,
and arguably the greatest music he wrote in Salzburg.
Yet, frustratingly, we know nothing about its origins.
Apart from a sketch for the first-movement cadenza, the
autograph has disappeared. Neither Mozart nor any of
his contemporaries ever mentioned the work. It seems
fair to assume that, inspired by the sinfonie concertanti
he had encountered in Paris and Mannheim, he
composed it, in summer or autumn 1779, for himself to

Wolfgang Amadeus Mozart

play with the Salzburg court Konzertmeister Antonio

Brunetti. But this remains guesswork.
While we should beware of reading Mozarts music as emotional
autobiography, it is tempting to relate the Sinfonia concertantes
darker undercurrents, rising to the surface in the C minor Andante, to
his smouldering discontent with his Salzburg servitude. Less
speculatively, the sonorous richness of the orchestral writing, with
violas divided throughout, reflects Mozarts contact with the crack

(http://adserver.adtech.de/?
adlink/1211/5009239/0/170/AdId=10881647;
BnId=3;itime=265349643;key=Wolfgang%2520
Amadeus%2520Mozart;)

Mannheim orchestra though, needless to say, the power and

technical mastery of the Sinfonia concertante surpass any possible
models.
The works special tinta is determined by the husky timbre of the
viola, Mozarts own favourite string instrument. As Charles Rosen
memorably observed in The Classical Style: The very first
chord...gives the characteristic sound, which is like the sonority of
the viola translated into the language of the full orchestra. There is a
sonorous depth to this opening Allegro maestoso, together with a
quintessentially Mozartian expressive ambivalence. The initial entry
of the soloists, suspended high above the orchestras cadential
phrases, is one of the most magical moments in any Mozart concerto;
and as several performances reveal, the musics grandeur, poetry and

(http://adserver.adtech.de/?
adlink/1211/5009239/0/170/AdId=14304503;
BnId=1;itime=265330217;key=Wolfgang%2520
Amadeus%2520Mozart;)

almost erotic yearning need not preclude a vein of frisky playfulness

reminiscent of Mozarts violin concertos. The Andante is a
transfigured love duet triste that touches depths of desolation found
elsewhere only in the Andantino of the Jeunehomme Piano Concerto,
K271, and the Adagio of the A major Piano Concerto, K488. Mozarts
own cadenza then pushes the music to a new pitch of chromatic
pathos. After the bereft, disconsolate close, the contredanse finale,
virtually unshadowed by the minor key, bounds in with a glorious
sense of physical relief.
As a born musical democrat Mozart gives the soloists absolutely
equal billing. He also brightens the violas innate duskiness with a

scordatura tuning writing the part in D major, with the strings

tuned up a semitone. This increases the string tension, and brings

(http://adserver.adtech.de/?
adlink/1211/5009239/0/170/AdId=14304503;
BnId=1;itime=265330217;key=Wolfgang%2520
Amadeus%2520Mozart;)

the resonant open strings into play: essential in performances using

gut strings; less crucial with the more powerful, metal-strung
modern viola.

The Russian School

The Sinfonia concertante, then, is not a work for shrinking violets
sporting what has been cruelly dubbed the viola players innate
inferiority complex. No one could ever level that charge against
William Primrose, who did so much to enshrine the violas status as
a solo instrument. Primroses gift for making the instrument sing is
eloquently heard in two recordings of the Sinfonia concertante, one

The complete
subscription
Join the Club today
and receive all three great
Gramophone products
for just 103 per year.
An 83 saving than if
bought separately.
(http://magsubscriptions.com/leisure/music1/gramophone/gramophone-premium)

from the 1951 Perpignan Festival with Isaac Stern, the second from
1956 with another famed violinist of the Russian school, Jascha
Heifetz. Yet its hard to believe Primrose had much say over tempo.
In the performance with Stern, conducted by Pablo Casals, the

Andante becomes an adagissimo dirge, each phrase excavated for

tragic import. In the outer movements the poetry and finesse of the
two soloists is rather undermined by the orchestras ropey tuning and
the clogged, frayed recorded sound. As in so many recordings, the

Sign up for our

newsletter
The latest news, features,
blogs and reviews delivered
weekly to your inbox!
(http://www.gramophone.co.uk/newslettersign-up)

soloists are too closely balanced.

At just over 14', with six laborious beats to the bar, the SternPrimrose Andante is the slowest on disc, the tempo surely dictated by
Casals. Five years later, the prime mover seems to have been Heifetz,
in collusion with conductor Izler Solomon. At 8'42" (another record
on disc), the Andante is now determinedly de-romanticised. Yet while
the forward motion is welcome, it all feels too pressed, with strong

The all-time
greats
Read about the artists
who changed the world
of classical music.
(http://www.gramophone.co.uk/features/focus/
gramophone-hall-of-fame)

beats over-emphasised. Heifetzs bright, febrile violin tone and

Primroses aristocratic viola are an uncomfortable match, both in the

Andante and the hard-driven outer movements. Overall, there is

(https://twitter.com/GramophoneMag)
(https://twitter.com/GramophoneMag)

virtuosity aplenty, with Heifetz in aggressive ascendancy, but

precious little wit or affection. The violinist remarked that in his
younger days he hadnt much cared for the Sinfonia concertante. On
this evidence, he still didnt.
In the 1960s and early 70s the Sinfonia concertante was

Tweets by @GramophoneMag
Gramophone
@GramophoneMag

Icons The Busch Quartet. Vote for them now in the

#HallOfFame bit.ly/1WRNXAP

a regular party piece of the father-son duo of David

Oistrakh (invariably on viola) and Igor Oistrakh, two
alpha males of the Russian school, complete with fast,
juicy vibrato. The Oistrakhs power, confidence and
uniformity of bowing, with neer a flicker of fragility or
self-doubt, are mightily impressive. But all of their
performances one from 1963, rigidly conducted by

Embed

View on Twitter

Kirill Kondrashin; a BBC Proms DVD from the same year,

with Yehudi Menuhin unconvincingly at the helm; and a
self-directed Berlin Philharmonic version from 1971
emerge as monumental and monolithic, with an air of
macho competitiveness in Mozarts conversational
exchanges. In the Kondrashin recording, especially, the
Oistrakhs milk the Andante as if it were Tchaikovsky
(/composers/pyotr-ilyich-tchaikovsky-40350).

Classical versus Romantic

With more than 40 current CD versions of the Sinfonia concertante,
and a score of others available as downloads, Ive inevitably been
ruthless in this birds-eye survey. Chosen recordings are
representative rather than necessarily superior to ones that are
omitted. Many collectors will, with good reason, cherish one or other
of the performances by Norbert Brainin and Peter Schidlof, of
Amadeus Quartet fame, though for my taste their performances
even the 1953 one conducted, superbly, by Benjamin Britten are
short on individual imagination. And at the risk of alienating swathes
of readers, I dont find much illumination in the once-celebrated
recording by Yehudi Menuhin and Rudolf Barshai. In a performance
from the same 1960s vintage conducted by Colin Davis, the evercultivated Arthur Grumiaux consistently outguns the dusty-toned
viola player Arrigo Pelliccia in polish and fantasy. Again, solo violin
and viola are very forwardly balanced; and its hard to gauge whether
its the fault of performers or recording that the potentially
breathtaking entry of the soloists is forthright and prosaic. On the
plus side are Grumiauxs plangent tone and tenderly shaped phrasing
in the Andante and the unusual urgency he brings to the minorkeyed themes in the opening movement.
In its day the Grumiaux-Pelliccia-Davis recording was
regarded as a model of Classical elegance. The trickle of
recordings that followed, subsequently intensifying into
a gush, broadly divides into those that at least pay lip
service to notions of 18th-century style, and those with
unabashed Romantic leanings. Among the latter group is
the version from the stellar pairing of Itzhak
Perlman (violin) and Pinchas Zukerman (viola) in 1982.
Under Zubin Mehta the Israel Philharmonic Orchestra
sounds stodgy and inflated, with unalluring string tone.
On their own terms, the soloists give a compelling,
highly sophisticated performance, seeking out the darker side at
every opportunity in the first movement, unleashing a virtuoso
brilliance in the finale (as a born show-off, Mozart might well have

(http://adserver.adtech.de/?
adlink/1211/5009238/0/529/AdId=14361562;
BnId=1;itime=265330559;key=Wolfgang%2520
Amadeus%2520Mozart;)

relished their pitch-perfect spiccato) and combining a frank

emotionalism with an understanding of the longer line in
the Andante.
That feeling for whole paragraphs, beyond individual notes and
phrases, is something I miss in another Romantically conceived
performance, from Anne-Sophie Mutter and Yuri Bashmet in 2005.
Although oboes and horns are soaked up in the tuttis, the London
Philharmonic Orchestras playing is in a different class from that of
the Israel Philharmonic. The dynamic here is that Mutter asserts,
sometimes aggressively, while Bashmet questions, conjuring the
most fragile of pianissimos in the quasi-recitative that opens the
first-movement development. The outer movements are effective in a
slightly too-knowing way. But the drooping, neurasthenic Andante,
its tone set by the swoops and sotto voce wails of Mutters initial
entry, is self-indulgent to the point of parody.
In another large-scale performance con

amore, Midori and Nobuko Imai sound, in 2000, more

spontaneous and alive. More than most conductors,
Christoph Eschenbach heeds the first
movements maestoso qualification. Theres a close
dramatic interplay between the soloists: say, in the
violas assuaging response to the violins anxious C
minor theme in the first movement an exchange
movingly heightened in the recapitulation or the
impulsive whoops of delight in the finale. In the first two
movements Midori and Imai flex the pulse liberally for
expressive effect, though Midoris hesitations and self-questionings
in the Andante can sound a touch self-regarding.
Also essentially Romantic in conception is the 1983 recording
from Gidon Kremer and Kim Kashkashian, with the Vienna
Philharmonic under Nikolaus Harnoncourt. Launched by a massive
opening tutti, braying horns to the fore, the first movement is the
most reflective of any performance, with Kashkashians viola probing
every recess of doubt and vulnerability. Even the final Presto, taken
steadily, is tinged with wistfulness, and the Andante has a musing,
quasi-improvisatory quality. There are, as always, controversial
elements in Harnoncourts direction, from the Baroque-style doubledotting of the opening chords to the lunging accents in the Andantes
consolatory major-keyed theme (why? I wonder). But dull it aint.
Augustin Dumay and Veronika Hagen likewise go in for doubledotting in their self-directed Salzburg performance from 2000.
Otherwise, their punchy first movement, shorn of maestoso breadth,
is very different. This is a powerful, consciously projected reading,
with Dumay the dominant influence. The soloists
ubiquitous crescendo-diminuendo effects in the first movement
sound studied; and I sense no joy in the jabbingly accented finale.
Even at the third hearing I was in two minds about the Andante:
ultra-nuanced, for sure, but tracing a profoundly affecting tragic
journey from the shrouded pianissimo of Dumays opening entry to a
cadenza of pained inwardness.
A performance from Philippe Graffin and,
again, Nobuko Imai in 2006 is compromised by a boomy
recording and some ragged orchestral ensemble. In the
opening movement the phrasing of the bravura

(http://adserver.adtech.de/?
adlink/1211/5009238/0/529/AdId=14361562;
BnId=1;itime=265330559;key=Wolfgang%2520
Amadeus%2520Mozart;)

dialogues, with diminuendos on each volley of

semiquavers, becomes predictable. As in her recording
with Midori, Imai unlike many viola players (although
its not always possible to tell) employs Mozarts
prescribed scordatura. The resultant tangy, throaty
quality is especially effective in the combustible finale.
In her earliest recording, with Iona Brown and the
refined Academy of St Martin in the Fields in 1989,
Nobuko Imai eschews scordatura. Here the mellow
darkness of her tone beautifully complements Browns
sweetness and purity in a partnership of equals. The first movement
marries maestoso amplitude with elegance and delicacy a delightful
buoyancy, too, in the soloists leaping second subject. Brown and
Imai commune with unaffected sensitivity in the Andante, never
straining for expressive effect, while the bouts of repartee in the
finale have a puckish twinkle. This is definitely one for the shortlist.

Period Influence
The lightness of touch, solo and orchestral, makes the 1989 BrownImai recording one of the earliest to absorb some of the lessons of
historically informed performance. Yet while period versions of
Mozarts symphonies are ten a penny, there are surprisingly few
performances of the Sinfonia concertante using gut strings and
natural horns. Rachel Podger and Pavlo Beznosiuk, with the
Orchestra of the Age of Enlightenment in 2009, are at their best in a
frolicking, rollicking finale, spiced (uniquely in this survey) by cheeky
touches of ornamentation. They also take the fermatas at the
opening of the first-movement development as a cue for
spontaneous elaboration, as Mozart himself would probably have
done. Beyond this, their first movement is sturdy and straightforward,
their Andante properly flowing, though less inward than some.
Podger and Beznosiuk form a close, democratic
partnership. In two other period (or quasi-period)
versions, the violinist tends to outshine the viola player
in personality and sometimes sheer volume. In
2005, Thomas Zehetmair plays with a sense of fantasy
that can leave the husky-toned Ruth Killius in the
shade, though he tends to rush his fences in the outer
movements. In the Andante, borne on an urgent forward
motion, violin and viola often sound like a pair of viols.
In 2007 on Archiv, we hear a more massively conceived
period performance (and we know that Mozart liked large orchestras)
from Giuliano Carmignola and Danusha Wakiewicz with Claudio
Abbados Orchestra Mozart. This is arguably the bestconducted Sinfonia concertante on disc, unsurpassed in its longrange vision and placing and timing of orchestral detail. No other
conductor articulates so clearly the swirls of semiquavers in the violas
and basses, or makes the slow-burn crescendo in the opening tutti
Mozart beating the Mannheimers at their own game so elementally
thrilling. Abbado and his soloists ignore the composers
prescribed maestoso. Pathos is at a premium. Instead, the first
movement veers between high-voltage nervous intensity and a kind
of edgy playfulness. As recorded, Wakiewiczs viola has a slightly
dry, nasal timbre. But while she emerges as the more passive partner,
she reacts sensitively to the impulsively inventive Carmignola,

whether in the chaste sorrow of theAndante or the controlled

delirium of the finale, where Abbado rightly allows the crucial oboes
and horns their head.
In a Gramophone interview, violinist Maxim Vengerov revealed that
he had talked to Rachel Podger and Trevor Pinnock before recording
Mozart. You wouldnt guess it from his recording with Lawrence
Power from the 2006 Verbier Festival. At an ample 14'22", the
opening movement out-maestosos all the competition. Yet breadth
and pliability no other performance bends the pulse so frequently
coexist with a quality of impassioned Romantic yearning. Needless to
say, Power is every bit Vengerovs equal in subtlety of nuance and
tone colour. Both soloists, too, think long. The Andante tends to get
slower as it proceeds, yet by the end it has reached a pitch of anguish
matched by few performances. In the finale the soloists palpably
relish egging each other on to new flights of fancy.

The Final Cull

If you prefer an expansive, Romantically inclined view of this
Enlightenment masterpiece, Vengerov and Power are the prime
recommendation. For a more Classical reading, Brown and Imai
should be on anyones shortlist. My final choice, though, lies between
three recordings Ive yet to mention. The 2014 performance by Vilde
Frang and Maxim Rysanov, accompanied by the gut strings of
Jonathan Cohens Arcangelo, is something of a period-modern
hybrid. But it works superbly. Frangs pure, slender violin tone and
Rysanovs burnt-umber viola complement each other beautifully,
each reacting creatively to the other. Vibrato is modest and tellingly
varied. The finale races like the wind, yet the lightness of articulation
precludes any sense of breathlessness and theres a lovely
withdrawn pianissimoat the fleeting dip from E flat major to minor
towards the end (bar 311). The luminous recorded sound and
Cohens ear for balance ensure that inner strands not least the
palpitating violas in the Andante are clearly audible.
Julia Fischer and Gordan Nikoli, with Yakov Kreizberg and the
Netherlands Chamber Orchestra in 2006, are another near-perfect
match in a performance that bristles with character. As in the
Carmignola-Wakiewicz recording, they downplay the maestoso in
favour of a fiery sweep. But there is grace and say, in the airborne
second subject playfulness in abundance; and the very first entry
of the soloists, only gradually emerging into consciousness, is as
seraphic as you could wish. The Andante, phrased in broad
paragraphs, combines a rarefied inwardness with an underlying
agitation, Fischers silvery sweetness complemented by Nikolis
mahagony depth. And you can almost see the smile on their faces as
they vie in the finales bravura flights.

Julia Fischer and Gordan Nikolic recording Mozart

The pairings of Frang-Rysanov and Fischer-Nikoli both do

the Sinfonia concertante proud. Yet forced to choose an outright
winner, as the rules demand, Ill plump for Iona Brown and Lars
Anders Tomter with the Norwegian Chamber Orchestra in 1995. It
always boils down to taste, of course. Some might find this
performance slightly understated. But Brown (in her final recording of
a work she played scores of times) and Tomter seem to discern
everything, and exaggerate nothing. One factor in my narrowly
preferring them to their rivals is their pacing and characterisation of
the opening movement: vital, exultant, yet with an
underlying maestoso nobility. Phrasing is gracious yet never
predictable, the flurries of semiquavers always speak, and the
themes acquire fresh shades of meaning when they are reviewed in
the recapitulation. Sorrow and grace commingle in the Andante,
taken at an ideal, mobile tempo a notch or two faster than on the
Brown-Imai recording. When the soloists embroider the second
theme with triplet arabesques, the mood briefly lightens to one of
ethereal playfulness. The sheer lan of the finale, violin and viola
sparring impishly, epitomises a crucial side of the young Mozarts
personality, even amid the frustrations of his Salzburg servitude. One
tiny detail is Browns delighted upward surge as she sights the
imminent prospect of the new key, B flat, near the begining. That just
about sums it up.

The Romantic Choice

Maxim Vengerov vn Lawrence Power va
Verbier Festival Chamber Orchestra
(Warner)
By modern standards, this is Romantically tinged Mozart,
with spacious tempos and malleable, con amore
phrasing. But affection and minutely observed detail
never obscure a sense of the longer line. Read the review
(/review/mozart-sinfonia-concertante-violin-concertosnos-2-and-4)

The (Quasi)Period Choice

Giuliano Carmignola vn Danusha Wakiewicz va Orch
Mozart / Claudio Abbado
(Archiv)

Claudio Abbado and period violinist Carmignola call the

shots in a large-scale performance short on pathos
perhaps, but long on Mozartian impetuosity and nervous
intensity. Read the review (/review/mozart-the-violinconcertos)

A Close Second
Julia Fischer vn Gordan Nikoli va Netherlands CO /
Yakov Kreizberg
(Pentatone)
Yakov Kreizbergs fiery opening tutti sets the tone for a
performance bristling with energy and imagination.
Fischer and Nikoli dare expressive extremes in
the Andante without ever letting the music sag. Read the
review (/review/mozart-concertone-rondo-k273sinfonia-concertante)

Top Choice
Iona Brown vn Lars Anders Tomter va Norwegian
Chamber Orchestra
(Chandos)
Superbly matched soloists and lithe ensemble playing in
a joyous performance mingling subtlety of detail with a
natural Mozartian flow. The Andante is profoundly
moving in its subtlety and restraint. Read the review
(/review/mozart-sinfonia-concertante-k364-2-pianoconcerto-k365)

Selected Discography
Date / Artists / Record company (review date)
1951 Stern, Primrose; Perpignan Fest Orch / Casals / Pearl
GEMS0168 (12/53R)
1953 Brainin, Schidlof; ECO / Britten / BBC Legends BBCB8010-2
1956 Heifetz, Primrose; RCA Victor SO / Solomon / RCA 88697
76138-2 (6/88R)
1963 I & D Oistrakh; Moscow PO / Kondrashin / Decca 470 2582DL2 (5/02R); 476 7288CC2
1963 I & D Oistrakh; Moscow PO / Menuhin / ICA ICAD5012
(11/99R, 9/11)
1964 Grumiaux, Pelliccia; LSO / C Davis / Philips 438 323-2PM2
(9/93)
1971 I & D Oistrakh; BPO / EMI 214712-2
1982 Perlman, Zukerman; Israel PO / Mehta / DG 415 486-2GH
(12/85); 476 1651PR
1983 Kremer, Kashkashian; VPO / Harnoncourt / DG 453 0432GTA2 (12/84R)

1989 Brown, Imai; ASMF / Decca 478 4271DB9 (6/91R)

1995 Brown, Tomter; Norwegian CO / Chandos CHAN10507
(3/99R)
2000 Dumay, Hagen; Camerata Academica Salzburg / DG 459 6752GH (12/00)
2000 Midori, Imai; NDR SO / Eschenbach / Sony SK89488 (10/01)
2005 Mutter, Bashmet; LPO / DG 477 5925GH2 (10/05R)
2005 Zehetmair, Killius; Orch of the 18th Century / Brggen /
Glossa GCD921108 (7/09)
2006 Graffin, Imai; Brabant Orch / Avie AV2127 (9/07)
2006 Vengerov, Power; Verbier Fest CO / Warner 2564 63151-4
(4/07R)
2006 J Fischer, Nikoli; Netherlands CO / Kreizberg / Pentatone
PTC5186 098 (11/07); PTC5186 453
2007 Carmignola, Wakiewicz; Orch Mozart / Abbado / Archiv 477
7371AH2 (9/08)
2009 Podger, Beznosiuk; OAE / Channel Classics CCSSA29309
(12/09)
2014 Frang, Rysanov; Arcangelo / Cohen / Warner 2564 62767-7
(4/15)

This article originally appeared in the October 2015 issue of

Gramophone. Subscribe to Gramophone (/subscribe)
Composer:
Wolfgang Amadeus Mozart (/composers/wolfgang-amadeusmozart-38324)
Tweet

Gramophone
Subscriptions

Print
Edition (#)

(#)

Tweet (http://twitter.com/share)

8 (#)

Gramophone Print

The Gramophone
Club

(#)

(#)

Digital
Edition (#)
Digital
Archive (#)

8 (#)

(#)

The Gramophone
Digital Club

Gramophone
Reviews

Gramophone
Digital Edition

(#)

(#)

(#)

(#)

(#)

Reviews
Database
(#)
Events &
Oers (#)

(#)

(#)
(#)

(#)

From

50/year

From

(#)

50/year

From

50/year

(#)
Subscribe (http://magsubscriptions.com/leisure/music-1/gramophone/gramophone-magazine?utm_source=gramophone.co.uk
Subscribe (http://magsubscriptions.com/leisure/m
Subscribe (http://mags
From
/year

From

82/year

66

Subscribe (http://magsubscriptions.com/leisure/music-1/gramophone/gram

Subscribe (http://magsubscriptions.com/leisure/music-1/gramophone/gramophone-premium?utm_so

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here
(https://institutions.exacteditions.com/gramophone)for further information.

Home (/)
Composers
(/composers)
Features (/Features)
Hall of Fame
(/halloffame)
Awards (/awards)
Blogs (/blog/all)

Contact Us (/contactus)
House Rules (/houserules)
Privacy Policy
(/privacy-policy)
Terms & Conditions
(/page/websiteterms-andconditions)
Twitter
(http://twitter.com/g
ramophonemag)
Facebook
(http://www.facebook
.com/pages/Gramop
hone/87870680838)

Sign In (/user/login)
Register
(/user/register)
Latest issue (/latestissue/april-2016)

Gramophone is brought to you by Mark Allen Group

(http://www.markallengroup.com)
Gramophone is part of MA Business and Leisure
(http://www.markallengroup.com)
About Mark Allen Group (http://www.markallengroup.com)
| International licensing (http://www.markallengroup.com)

MA Business and Leisure Ltd. 2016