Reviews

The definition of ‘cantilena’ is a sustained, smooth-flowing melodic line. Listening to the varied pieces on this very well filled disc the word seems highly appropriate. Throughout the CD one is impressed by the artists’ technical prowess but also there appears to be a real insight and empathy between them. The recording is very sympathetic to the players who on my high-end system sound as if they’re in the room. The notes too are very fine and informative without any condescension. All in all, this recital surprised me by its quality of composition and diversity. I look forward to more from this duo.

The main appeal of this charming album is how the flute and piano meld – the two musicians work really well together. These are delicate summery pieces that range in sound from rather serious music, to which you can imagine people listing earnestly, to music that would be suited to a slightly scary Gothic movie and then to a sound that’s not too far from jazz.

This new Masque disc centers more around form and structure, but that certainly doesn’t prevent composer Carson Cooman from yet again flexing his creative muscle and laying out a series of Preludes and Fugues as varied as they are meticulously crafted. And once again, organist Erik Simmons, through the use of a wide variety of stop combinations and expressive playing, reveals each one’s unique colors and character. The Symphony for Organ, actually dedicated to Erik Simmons, is quite something. All of this great music is performed on the outstanding 1973 Marcussen & Son Organ of Laurenskerk, Rotterdam, in the Netherlands, comprised of 85 stops that range from a 1′ Octaaf to a 32′ Bazuin. It can purr like a kitten or roar like a lion, and everything else in between. This is yet another outstanding recording courtesy of Divine Art.

Beautifully crafted Preludes and Fugues … This is an organ symphony to rival any, spectacularly played by Erik Simmons. He receives an excellent recording and there are excellent notes from Carson Cooman. Surely all organ enthusiasts will want this fine new disc.

Cooman’s inventiveness is beguiling. The limpid sounds of the Marcussen organ help to draw the best out of this contemporary music.

This is most definitely organ geared towards a more modern audience, with plenty of variations and even playfulness. To listen to, it’s gentle and ranges in sound from the more somber end of the church music spectrum to rather jolly music that could be played at a wedding. It’s an enjoyable CD, so what more do you want?

The composer is an excellent craftsman who has developed a distinctive, individual voice. [The Symphony] has an approach­able style and is well conceived for the organ. Simmons gives clean, com­mitted performances on the 1973 Marcussen organ in the Laurenskerk in Rotterdam. The recorded sound is vivid.

I welcome this superb disc without reservation. Her Bach playing is quite magnificent. A truly outstanding production in every way.

These are absolutely beautiful piano per­formances by Maltese pianist Micallef. Every dynamic capability of the piano is used, especially long crescendos and diminuendos. Bach would probably not have had this ability with the instruments of his day, but would heartily approve if he heard this performance. The attention to detail, especially at the slight ritardandos at the end of sections and move­ments, make these performances as perfect as I have ever heard. Divine Art’s booklet notes and production values are up to their usual high quality, and they have found a sensitive and engaging new pianist. More will be most welcome.

This album is a good introduction to classical music itself: it’s top quality. If you feel you want to buy a classical CD, this is an excellent first investment. [Micallef’s] playing is precise yet subtle, and she brings out the best in the music. This sounds fresh and modern and not in any way imposing. If you like Bach already: this must be one of the better recordings of his work, so neither neophytes nor the knowledgeable can go wrong.

Spirited and alert renditions … Schembri’s European Union Chamber Orchestra opts for a sound that appears a compromise between authentic and contemporary sonorities, certainly transparent enough to allow Micallef’s pearly articulation to shine through. Micallef and Schembri deliver a most congenial rendition.

This vibrant recording was made in St John’s Smith Square, London with its excellent acoustic: it is perfectly balanced between soloist and orchestra. Lucia Micallef’s playing is superb with a fine and nuanced interpretation of this great music. Her ability to imbue the concertos with just the right amount of vivacity or reflection as appropriate is ideal.

The performances are clean and distinctive. One can certainly see the benefit of having a small chamber orchestra of only 15 players against a rather powerful modern piano to bring out a more modern concept of Bach’s works. The orchestra playing is extremely precise… [Micallef] is quite precise and fits the orchestral accompaniment so that it sounds chamber-like rather than a fuller, thicker orchestral texture that one might expect.

Statkowski is a very imaginative composer who borrowed much of the passion of Russian music. [The performer’s] interpretation is fluid and subtle and reflects the diversity and moods excellently.

All the works on this program are … well conceived for the piano and marked by surprising kaleidoscopic har­monies. Ms Karaśkiewicz plays them with style and affection.

This is a valuable new release of music that deserves to be heard. Many of these pieces would sit well in any recital. The recording is close and detailed with a fine piano tone. The booklet is well up to Divine Art’s usual high standards with excellent booklet notes from Barbara Karaśkiewicz.

The music on this CD would be right at home in the metropolitan European salons of the second half of the 19th century. It is music of extreme sensitivity that is written beautifully for the piano. Statkowski is by no means an innovator, but he does have a unique and personal voice as a composer. I am very happy that the Polish Pianist Barbara Karaskiewicz, who plays this music exquisitely, has recorded his excellent piano music

The most interesting aspect of this CD is the 24 mazurkas by Maria Szymanowska. . I found them charming and delightful pieces: in spite of lacking the subtlety of Chopin’s contribution they are valuable examples of the form. I enjoyed Kostritsa’s playing… he responds well to the challenges of these popular numbers [by Chopin]. Kostritsa presents the [Szymanowski] music with considerable imagination. I have nothing to compare in relation to Maria Szymanowska but I enjoyed the pianist’s interpretation of these delightful numbers.

Kostritsa plays with accentu­ated verve, though his grasp of the Szymanowski stresses their continuity as mazurkas, rather than their strangeness. Sound is close, detailed, and gutsy.

It’s a pleasure to hear [The Fireworks Music] in miniature, and quite entertaining if you’re familiar with the heartily orchestrated original! There is much tasteful and cheery playing here. The seasoned and well-knit ensemble playing is immediately evident, as is their affection for this music. The booklet notes are informative and the recorded sound is particularly beautiful.