Reviews

Anthony Hewitt interprets the derivative but compelling [Reubke Sonata] so splendidly here

a subtle and sensitive recreation of devotional music, meticulously researched, and convincingly performed. Canty are an ensemble whose voices maintain individual characteristics, while integrating into a seamlessly unified whole. Their discipline and their ravishing vocal quality make this recording a welcome moment of calm and devotion in an agitated time.

The four singers give outstanding performances… their voices are quite different in timbre but they blend perfectly… William Taylor’s improvisations are stylish and never obtrusive and are a delightful addition. The reverberation of the church is just right. The booklet contains extended programme notes and all the lyrics with an English translation. A spellbinding recording… for lovers of liturgical music this is a disc not to be missed.

Canty is Scotland’s only professional medieval music group and was formed by Rebecca Tavener in 1998, the 900th anniversary of the birth of Hildegard of Bingen. The group comprises the regular female singers with Cappella Nova, Scotland’s leading early music vocal ensemble. Together with regular collaborator, harpist William Taylor, they explore a unique repertoire combining […]

The singing is clear, crisp and very communicative. Each singer is clearly traveling in the same direction, on the same journey, as the others are – and as is William Taylor, the harpist. There is a clear and well maintained sense of purpose in the articulation of each of the texts. The style is relaxed. The unison singing very beautiful. The recording made with an appropriate amount of intimacy and delicacy without ever breathing at the listener. The singers of Canty convey a humility and reverence which aptly fits the gentle and assured nature of the music. This CD is a valid and well-executed collection of spare yet tuneful, melodically inventive and sophisticated music that is sure to please all lovers of early choral music. The CD comes with an attractively-produced booklet with texts in both Latin and English and a useful introductory essay. Recommended both for the rarity of repertoire and completely successful execution.

Canty are a four-strong all-female group who have, with some justification, been compared with Anonymous Four. Their first CD, of music by Hildegard of Bingen and from medieval Scotland, was released on the Dorian label; two more recordings of medieval Irish and Scottish music followed on the ASV Gaudeamus label. Felix femina (CDGAU360) approximates the […]

A special disc… we are treated to a loaded program – 38 tracks of music that is probably not heard too often in its liturgical context. The sound is clear and concise, nicely warmed by the light resonance surrounding the singers. This is an affectionate tribute well worth the time, especially for chant lovers. – Steven Ritter

This is an out of the way set that rewards the listener looking for a real and deep listening experience with music that is genuinely from another time and place.

These are exemplary performances. The real surprise is the work by Melanie Bonis which should really be much better known. Highly recommended.

[Smith] has developed a reputation as one of the UK’s best flute players, and it is clear from this recording that he is a consummate musician. This is a wonderful disc, both in terms of the repertoire and the quality of the performance. It is the sort of playing that makes you sit up and listen; the artistry of these musicians is impressive and demands attention. I can’t wait to hear the duo’s next CD, of British music.

Sprightly but with a sure touch throughout, this is a duo well worth your attention, particularly when you are in the mood for something different.  Well done.

This disc is a pure delight from start to finish… it should be one of the piano highlights of the year. [A] hugely enjoyable disc which is jam packed at just 30 seconds less than 80 minutes long… with the glorious virtuosity of Anthony Goldstone to round off that perfect experience. This is truly an essential purchase for lovers of good operatic and piano music.

His playing is effortless. At the same time it is never glib – he must work very hard indeed to play this series of finger-busters. This is how this repertory should be played. Bravo, Anthony Goldstone!

It is puzzling why he does not enjoy a higher public profile. Goldstone’s accounts generally stand up well to the competition – a buoyant Rigoletto paraphrase, for example, and a keenly detailed and dramatic Carmen Chamber Fantasy. [A] generously filled disc accompanied by the pianist’s own excellent booklet.

The performances here would surely have delighted [the original dedicatee]. Overall this is beautifully refined music-making – sonorous, soulful and sincere.

‘Grandi’s fine melodic gift is in evidence throughout, as is his imaginatively responsive word-setting. [Musica Secreta’s] deliciously mellifluous sound brings and extra level of exquisite intensity…really delightful. A very great treat.

Technically, aesthetically and tonally many-faceted, and reflecting the major change which marked the era, Grandi comes across as a powerful composer. A lively and full value interpretation, showing no weakness in comparison to the original mixed voice conception in terms of the effectiveness of the piece. With careful transposition, and the instruments filling the bass parts, this altogether succeeds as a convincing interpretation

With great care, sensitivity, and musical judgement, the ensemble arranges and transposes the music so that it matches their vocal resources. An attractive humility and fervent earnestness comes through in the performances. Word painting is effectively interpreted and the performance and repertoire decisions are convincing.

Although considered one of the finest composers of his day, Alessandro Grandi’s music is little known. This premiere recording of his 16 Motets for Five Voices is very welcome.

The aims of Musica Secreta are of great interest to all musicians, The singing is first-class throughout the CD: clear, free, compelling, and with nearly impeccable intonation. Indeed, one of the advantages of freely arranging the music is that it can all be sung at a tessitura that suits the singers on hand: there is almost none of the pinched, slightly sharp, vibrato-less singing that one often hears in mixed-voice recordings. This recording is absolutely worth obtaining, for the sake of some really exquisite singing (not to mention the repertoire itself)