Liisa Hirsch

Of the larger-scale performances at HCMF 2025, the most qualitatively challenged was that given by the London Sinfonietta, conducted by Geoffrey Paterson. Laurence Osborn‘s Mute just sounded like early ’90s Thomas Adès, pointlessly rehashed three decades later, also demonstrating how the Faberian sound is not so much alive and (for …

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To view this content, you must be a member of Simon’s Patreon at £5 or more

To view this content, you must be a member of Simon’s Patreon at £5 or more