Reviews

It has been several years since I had the pleasure of reviewing Jill Crossland’s Signum recording of Bach’s ’48’, Book 1 (February 2008) and commented upon her ‘polished and compelling account’. This latest recording, made at St Paul’s Church, Deptford in 2010, makes use of a Fazioli and comprises music by Mozart, Beethoven and Bach-Busoni. […]

The disc is worth acquiring, for even though Crossland’s approach is not novel, it is rare among the big names: there is no languid sleepiness, and where the fire should burn it burns, but there are no Romantic excesses, no jagged lines and no rough surfaces. I will not stack this disc too far away from the player.

Jill Crossland gives us a programme here as tastily arranged as a cordon bleu menu, well thought out, delicately prepared and fresh. It’s a most satisfying disc. I’d give it as a gift to one hungry for Michelin-star playing of classic recipes.

Her interpretations reflect deep thought and superb technique. She never imposes herself on the composer’s intention. Excellent, conveying real sensitivity. 4.5 stars out of five.

Crossland’s straightforward interpretations usually capture the essence of each piece, with textural clarity, careful rhythm, and sensitive melodic shaping…. much to enjoy in Crossland’s sincere interpretations and adept playing.

Echoes of Bartók, Stravinsky, and Herbie Nichols permeate Absolutely!, and Steinmetz’s soprano sax flutters its way through the proceedings in a way that adds a voice to the string quartet in addition to soloing over it. Violinist Tolling, by nature of his instrument, often sounds as if he is emerging from the ensemble. . What amazed me more was how the Fitzwilliam String Quartet also manages to assimi­late this style at times. The last movement, Love, is an extraordinary polyphonic piece whose tex­ture becomes increasingly complex as it develops. Steinmetz’s arrangements of the Purcell Fantasias are fascinating for the clever way he has woven the soprano sax, playing variations on the themes, into them without disturbing either the flow or the musical content of the works. This is a remarkable CD; highly recommended!

Superb playing .. this is an incredible success, combining jazz and classical … all brilliantly played… terrific jazz improvisations over the Purcellian sounds of the Fitzwilliam Quartet. Superb string playing and inventive sax…with both blending wonderfully. Well recorded with excellent notes, this is a disc that all open minded classical and jazz lovers should investigate.

The natural – as opposed to digital – provenance of the reverberation is evident within seconds of audition. In my view the final track … is worth the purchase price of the CD alone. [A] brave new CD … the energizing music of Absolutely! with its rich meta content adds a welcome spoonful of idealism to today’s relentless diet of self-centred commercialism.

The focus of this challengingly virtuosic disc is Andrew Wright. It’s a measure of his aplomb that his own transcriptions fail to wilt even in the glare of such declamatory historical precedent. But for all the bravura there is also an awareness of the sheer musical refinement involved. These spirited readings receive good recorded sound and Wright’s own notes cap his recital with insightful commentary.

Formidable playing … Wright displays great sensitivity in this lovely performance… beautifully done. There is writing of some virtuosity which Wright throws off with panache and abandon. This is a disc to sit back and enjoy while marveling at the many moments of virtuosity.

The operatic melodies are part of the cultural vocabulary, as is the ornate, virtuosic garb in which they are presented. This Scottish pianist sells the repertory in question to listeners without cheapening it. He’s a very capable pianist too … these sincere, well-prepared performances have much in their favour.

Martucci’s splendid Fantasy of Verdi’s La Forza del Destino… three plausible excursions into the 19th century by Wright himself… Liszt’s glorious version of Isolde’s Liebestod. Thalberg’s Concert Fantasy on La Traviata makes a gripping centrepiece.

Impressive playing as Andrew Wright walks in the footsteps of the 19th century pianist-composer giants, including some no-holds-barred-creation of his own. ⭐️⭐️⭐️⭐️

This lovely disc is conceived as a tribute to Alfred Deller. For me this CD is a rather wonderful trip down memory lane. The outstanding performers are ideally suited to the music, the recorded sound is extremely clear and the musicians blend perfectly. Alfred’s family will be very pleased to hear this imaginative CD. I warmly recommend it.

I am a great admirer of Goldstone’s art. Aside from the technical skill to perform these hugely demanding scores he displays real musical sympathy with the inherent style of this music and more importantly still an ability to communicate that sympathy both in the playing of the notes and the insight and interest of the programme notes he supplies. The skill of transcriber and performer are never in doubt … [a] compellingly enjoyable disc. The rest of the package – liner-notes, recording and general presentation are first class. The piano sound as recorded is bright and full, detailed but not oppressively so. A disc of real quality and one bound to give great pleasure to all.

I’ve found Anthony Goldstone’s recordings to be consistently delightful. He’s one of those modest virtuosos who can play anything. Goldstone, without ever sounding glib or insensitive to the limitations of actual dancers, glides through this wonderful glittering music triumphantly… hearing a pianist of Goldstone’s calibre conquer such technical difficulties so genially can’t fail to bring pleasure. This is a fun release – how could it be otherwise, given Tchaikovsky’s melodies and Goldstone’s impressive playing?

It is wonderful how Goldstone holds the structure [of Pabst’s Sleeping Beauty paraphrase] together so well. Beautifully crisp playing [in the Siloti piece] … the lovely little coda played to perfection. The performance [of the Grainger work] is an absolute triumph. Some pretty dexterous notes played brilliantly. With an excellent recording and informative booklet notes, lovers of Tchaikovsky and Russian music in general will want this disc.

Although sacrificing some of the brilliant colours of his orchestration, these resourceful piano transcriptions from Tchaikovsky’s three ballets by Pabst, Kashkin, Grainger and Siloti nonetheless sound very attractive. Goldstone performs them with great fluency and charm.

This second of Goldstone’s two volumes opens swishingly. Two … items are disc premieres… Grainger’s paraphrase is a tremendous evergreen.

British piano virtuoso Anthony Goldstone … turns to the world of Tchaikovsky’s three exquisite ballet scores. A combination of flying fingers and unforgettable melody … wonderful non-legato [in the Sleeping Beauty Polonaise]. If we have not already been convinced of Goldstone’s prowess we next encounter Percy Grainger’s monumental account of Waltz of the Flowers.. we can virtually hear the horns in the orchestration and the swirls and throbbing runs and trills resonate with a will. A decisive tribute to the world’s foremost master of the ballet medium.