Michael Haag

Frank Martin’s Violin Concerto must be counted one of the finest 20th century works in the genre. It’s a very beautiful, lyrical work. The opening orchestral tutti alone instantly establishes an unforgettable, magical atmosphere, an amalgam of impressionism, jazz, modal harmony, and a touch of 12-tone technique. There was an old Decca recording with Wolfgang Schneiderhan (recently reissued on DG), which was quite good, but this version is in another league. Not only does Michael Erxleben essay the solo part with a wholly winning combination of shapely phrasing and rhythmic suppleness (Schneiderhan was a touch foursquare), but the Winterthur orchestra under Jac van Steen plays Martin’s austere but evocative score with real character. The balance between solo and ensemble also is perfectly judged, allowing a vivid interplay between the two and support for the soloist that, however gentle, never lacks for color and impact.

In this illuminating companion to Dan Brown's Inferno, historian Michael Haag sets out the truth behind the novel's myths, mysteries and locations. How do the clues unveiled in symbology professor Robert Langdon's daring quest from Florence to Venice and Istanbul overlap with history?