Reviews

playful Allegro con fuoco finale.” – Remy Franck (Pizzicato)

Wyllie has a flair for sound colours and tempi, with a secure technical and artistic touch. Given the somewhat exotic touch of the programme it is advisable to give these interesting tidbits a bite.

” —Hartmut Hein, Klassik.com

A nicely diverse selection, with recorded sound crisp and lustrous throughout, and Mitchell underlines her credentials as a persuasive advocate for these colourful contemporary pieces… a winning disc with much to enjoy.

” —Catherine Nelson, The Strad

The art of the keyboard transcription of opera has a passionate acolyte in Andrew Wright’s assembly of virtuoso treatments. Wright applies his formidable prowess. Stunning piano sound makes the entire [program] engaging and educational, at once.

” —Gary Lemco, Audiophile Audition

This is a CD that shows that good music is hard to categorise. It’s hard to pick a standout [track], as it’s all good. It’s all really interesting; intense yet not demanding, gentle but never dull. Despite being modern and using electric guitar, it often sounds like early music, too.

” —Jeremy Condliffe, The Chronicle

The playing by Piano à Deux (made up of Robert and Linda Ang Stoodley) is excellent. They have chosen a vibrant and imaginative programme, and have succeeded in introducing the listener to two works by the unjustly neglected George Onslow.

” —John France, MusicWeb International

Carson Cooman’s playing talents are displayed. Quite an interesting recording.

” —Mark Jameson, The Organ Club Journal

A great CD of music that can be enjoyed including a nicely produced booklet with lots of information about the music and the organ.

” —Mark Jameson, The Organ Club Journal

[The archtop guitar] certainly has a distinctive sound that David Braid exploits brilliantly… magic and evocative. The music is interesting, often captivating, never too challenging, and always enjoyable. It has been a privilege to explore these eight works. All the performers play brilliantly. The sound quality is superb.

” —John France, MusicWeb International

Turner’s writing is tonal and accessible, but often nudges the boundaries of traditional harmony in gently intriguing ways. If you’re in the market for Christmas music and want something that departs delightfully from the norm, this album would make an excellent choice.

” —Rick Anderson, CD Hotlist

Those listeners who have been privileged to receive one of John Turner’s ‘Christmas Card Carols’ will find this new CD a delightful surprise. These imaginative carols are beautifully sung (and played). The purity of the vocal line is both astounding and moving.Turner’s musical style has captured the magic of the Season. He is a legend in his own lifetime… all these carols are lovely and sum up the joy of the Christmas-Tide.

” —John France, MusicWeb International

Outstanding music played well… intelligent music that’s inspired by Chopin, and with the sadness of Mother Russia in places; influenced by the impressionism of Claude Debussy, and Maurice Ravel… atmospheric and suggestive.

” —Jeremy Condliffe, The Chronicle

Goldstone’s playing at age 72 is simply incredible. Speed, reach, accuracy and, above all, unerring musicality mark every transcription he performs. The music tends, understandably, to be extremely athletic and Goldstone’s level of sustained energy is impressive.

” —Alex Baran, The Whole Note

Piano at the Ballet, Vol. 2 is a fitting finale to a great recording career. It is sort of an appendix to a trio of recordings titled “The Piano at the Ballet, Opera, and Carnival”. The entire program is balanced and a continuous joy to listen to. Recorded sound and liner notes are up to the highest standards.

” —James Harrington, American Record Guide

As in the previous volumes the music, playing, and production are of a high standard. These pieces are mostly short, tonal, and in a pleasantly neoclassical harmonic idiom. Simmons delivers his usual excellent performances.

” —Robert Delcamp, American Record Guide

While a lot is made of his Hollywood links, this doesn’t sound like film music; it’s technical but romantic, and always easy to listen to. Soldano is a marvellous pianist and the music seems to flow from his fingers like water.

” —Jeremy Condliffe, The Chronicle

Betty Roe is an unsung heroine of British music, a very gifted composer. Here is a wonderfully-performed and excellent-recorded album of no fewer than 19 of her song settings… most welcome to the point where one hopes it will lead to more performances and recordings of music of such inherent and genuine quality.

” —Robert Matthew-Walker, Musical Opinion

British composer Rob Keeley, born in 1960, creates chamber music with unusual casts. Several examples of his particular music form an enjoyable program on this disc. The performances are persuasive and well recorded.(Awarded four ‘stars’)

” —Uwe Krusch, Pizzicato (Luxembourg)

All [Schwaabe’s] talent is affirmed here in a demanding and daring programme and which brings many new discoveries. Truly a celebration of the piccolo, pushed to its virtuoso limits and beautifully served up.

” —Pascal Gresset, Tempo Flute (France)

All of the [works] try to shine the best light on their perspective of this instrument: dance-like, accomplished, light and nimble, “above” it all, lively, humorous, tomboyish, versatile, sensitive and extreme – an instrument with significant scope for more potential. The fact that Natalie Schwaabe, and also Jan Philip Schulze, have mastered all aspects of their craft and at all levels, is already clear after only a few bars of the nearly 70-minute long album. The piccolo can feel proud and honoured to be the focus of such artists.

” —Claudia Wälder-Jene, Flöte Aktuell

The playing is superb; even a non-pianist can tell that in places Wright is playing at world-class levels. If it has a drawback (and it’s hard to really be critical on something this good), it’s that the styles range considerably, from the gentle and calming to the highly ornate, fiendishly complex. On the other hand, and this is a big plus, if you’re not too keen on opera, you get all the best bits.

” —Jeremy Condliffe, The Chronicle