I’ve always thought Mahler’s Eighth
Symphony something of a trial:
the idea of yoking the medieval
hymn <i>Veni</i>, <i>Creator Spiritus</i> with
the final scene of Goethe’s <i>Faust</i>,
seems bizarre alongside its theme of
I wondered whether Pierre Boulez’s
cool, cerebral, Gallic approach
to Mahler’s music – a sticking
point for some throughout his slow
release Mahler cycle – would be
suited to this quintessentially Central
This truly dazzling but heartfelt homage to Mordkovich’s mentor David Oistrakh contains only one work – Chausson’s Poème – from the mainstream repertoire and showcases Mordkovich’s wonderful technique as much as her fiery commitment and perceptive playing.
Howard Goodall is a well-known British film and television composer with an impressive
string of scores to his credit, but I deliberately avoided reading the liner notes of this CD in an attempt to hear the music “blind”, as it were.