Reviews

It has been only a few months since this marvelous woodwind orchestra was last heard from…5 new works are heard in their first recordings. All tell a story or are about something. My favorite is Turkish-American composer Kamran Ince’s haunting Domes (1993), inspired by the skyline of Rome. Harmonies are doleful, timbres hushed, phrases very brief, chord progressions enigmatic.

Woodley pours his soul into the entire program, shaping each phrase with a wide range of dynamics and executing all requested extended techniques…His diffuse sound has roots in the British clarinet dialect of the past…West is a first-rate keyboardist, handling the demands of each score with marvelous dexterity.

James Gilchrist shows again why he is so widely admired as a singer…His voice is warm and supple; his phrasing is keenly nuanced; his varied use of dynamics illuminates the texts knowingly. Nathan Williamson’s collaboration is on par. It would be hard for me to imagine a better rendering of these songs.

I applaud the thought that went into the program. The results were worth the effort. Woodley’s choice of composers is also spot on…some fine emotive performances.

Pritchard combines planning and spontaneity quite beautifully…different groupings of instruments…form this fantastic ensemble, showcasing the technical and lyrical extremes that these instruments are capable of.

The performers…are convincing in their confident handling of the often serial works. With their commendable commitment, they help us to discover not only the medical side but also the musical vein. Their interpretations certainly provide an incentive to take a closer look at the composer…

Their counterpoint is lucidly articulated; their cantabile, compelling; and Chiahu Lee has picked up the compositional gauntlet…All in all, an invigorating and beguiling spring clean for the ears!

Schliessmann’s performance shows he is well cognizant of…beauty. Robert Schumann’s famed Fantasie in C Major, Op. 17, is notable for the composer’s mastery in blending, contrasting, and superimposing timbres. Schliessmann takes all these issues in stride, making this an eminently satisfying account of one of the most difficult works in the repertoire…choice…encores…handled superbly by the present artist.

Dan Evan’s new album “A Waltz Through the Woods” flows like a book that sparkles and dances across ancient, polished stones. This conceptual masterpiece prompts reflection and warm memories. It can lift your dinner party or turn an anxious tot into a dancing sprite. I crave music that delivers what Dan Evan has gifted us…

My initial impression was…the pure beauty of Shaw’s voice…all is impeccably tasteful, immaculate

If the music inhabits a somewhat circumscribed sound and emotional world that puts him in good company with others outside the mainstream: and on first acquaintance it is definitely rewarding…This…is contemporary music that comes highly recommended.

The stories are all surprising and hugely entertaining. The accompanying piano music, played with considerable virtuosity and depth of feeling by Anthony Capparelli, takes us back to childhood into that extraordinary dream-world of Celtic imaginings.

…the music itself, expertly crafted, tonal and accessible, has the potential to engage listeners who do not know the composer yet but are willing to open themselves up to a welcome set of new musical experiences.

It is very difficult to find fault with any aspect of this disc, from performance and recording to selection of repertoire. This is absolutely not for clarinetists only…

As with his other recordings, Schliessmann contributes an extensive, thought-provoking essay. Without hesitation I recommend this recording…there are many, many moments all through these pieces that repay careful listenings. This will certainly be my reference recording for all of the works here.

Australian composer John Carmichael…has a phenomenal musical technique, writes wonderful melodies, and his music provides much needed calm…it is wonderful to have on disc such life affirming music. It gives me pleasure and it sounds as though it gave pleasure to the players, too. Life would be better if such music made its way onto the concert platform.

“…this was most welcome…an enjoyable album.”

Christopher Guild has a strong background playing Scottish classical music. And that experience informs his playing here…Guild ensures they’re played with the proper phrasing and rhythmic bounce. Charming, witty, and thought-provoking.

…remarkable sequence of compositions by Michael Finnissy…the programme as a whole is dominated by the arrestingly opulent voice of Lotte Betts-Dean…the persuasive assurance of these performers and their technical assistants is consistently of the highest calibre.

…ear-catching…The music coruscates and sparkles…The recording is splendid, and the performances are clearly formidable…a dazzling, often moving portrayal