Reviews

Immense pleasure to be obtained here.. the most striking thing is the sheer expertise with which these pieces are composed. The dedicated efforts of Kenneth Smith and Paul Rhodes… present the music at its best. The set would be worthwhile having for the rarity and interest of its contents alone. It is made an essential purchase… by the superb booklet. All beautifully played, recorded and presented.

This massive undertaking is simply a mind-boggling act of selfless dedication from … Kenneth Smith. These are very well-written pieces, tonal and romantic to be sure. The music here covers the entire range of the instruments, from top to bottom, but it does not do so in a flashy or superficial manner. Smith is, quite simply, a superb flutist. Smith keeps you hooked through the whole set. His tone is warm and ingratiating, his technique deceptively flawless (he doesn’t dazzle you except in two or three pieces, but he’s so good that you never notice all the hard work that went into it), and his style thoroughly apropos for the era. Accompanist Paul Rhodes’ consistently lively yet warm playing is the perfect partner for Smith’s flute. You may not want to hear all three CDs at one sitting but I guarantee you’ll want to hear what comes next . It’s that kind of set.

It is difficult to overstate the importance, never mind the delicious enjoyability, of this collection. Kenneth Smith’s virtuosity and glorious sound are put to the best use, and Paul Rhodes shows himself to be an ideal chamber music partner. Stunning performance… ravishing… full of surprises…I am running out of superlatives. Flute playing does not get any better than this. For me, this is the recording of the year.

works ranging from the virtuosic to vignettes a student could master. McLachlan makes the nearly impossible Chopin elaborations sound easy.

This program is much better than anything I’ve heard from [McLachlan]. There’s a lot of slow- to mid-tempo music that requires cantabile playing, and he doesn’t disappoint me. The arrangements are more than mere transcriptions, of course, and are enjoyable and sometimes stunning… There are some very diffi­cult figurations for the pianist, and he handles them with what sounds like enviable ease.

Stevenson’s admiration for the pianist-composers of the past is reflected in his own work, which meanders almost seamlessly between original compositions and adaptation of music by others … but if one follows the music, one soon notices the originality of the music, in the truest sense of the word. Murray McLachlan leaves virtually nothing to wish for in this complex material. His virtuous capabilities are without question as well as, most importantly, his understanding of Stevenson’s idiom. The recording technique allows Stevenson’s music to breathe and accentuates the interpretations in a best possible way.

Stevenson has composed almost 500 pieces for solo piano, many of which are fiendishly difficult to play. Even three well-filled discs can hardly scratch the surface of such a vast amount of piano music. It’s never, ever dull, and its sheer imagination and energy are irrepressible. So too are McLachlan’s performances; the dedication of his playing is without doubt immensely impressive.

An excellent view of Stevenson’s art, showing the vast scope of his piano transcriptions, variations and arrangements. Murray McLachlan fully does justice … in playing that is impeccably accomplished … a tremendous advocate for these pieces. The recordings are clear and detailed. This new release should appeal to all lovers of fine piano music and indeed, music lovers in general.

I was telling a friend about the arrival of Ronald Stevenson’s piano music CDs on my doorstep. What surprised him most was that for once in my life I was lost for words. I was overwhelmed by the sheer width and depth of the repertoire. Ronald Stevenson is one of the most important living composers. I was extremely impressed by Murray McLachlan’s playing on these three superb discs. This complex, usually technically difficult – if not nearly impossible, at times – music demands a huge technique and considerable confidence to play and interpret successfully. The liner-notes by Murray McLachlan are excellent, comprehensive and interesting. [This set] will long remain as a monument to the achievement of Ronald Stevenson.

What a collection of treasures… McLachlan proves the ideal guide through this unendingly fascinating array of works. McLachlan’s technique is equal to the most challenging of the composer’s virtuosic demands, his musical sensibilities attuned to shaping the torrents of notes into real works of art and his lightness of touch able to draw out the subtle tones and colours that are the lifeblood of the music. The recording is very clear, no mean achievement given the music’s wide dynamic and textural range. Very strongly recommended.

Three well-filled CDs. McLachlan proves an impressive advocate, coping well with all the virtuoso demands … an important, groundbreaking issue celebrating the work of a composer too long neglected.

One of the very most important and entertaining piano recordings of the year … mind-boggling originality and daring. [played by his] equal as a piano wizard Murray McLachlan… the collection as a whole will give lasting satisfaction.

This is a very noteworthy release, and I am going to go out on a limb and predict that it will end up on many ‘Best of’ lists. McLachlan’s performances on these discs are conscientiousness and intelligence personified. McLachlan’s Stevenson buffet has enough delights to make it well worth your while.

Rowland’s performances have grown over the course of the set, and I find that this is a fitting culmination with solid playing and a fine sense of ornamentation. I find that this will be a good edition to have.

The present selection is made from both the principal collections as well as the miscellaneous group. The second disc concludes with the massive Chaconne and 62 variations from Suite in G major, HWV 442. The CD is worth buying for this alone and Rowland’s playing is admirable throughout. The sound of this instrument is simply stunning: it has been superbly recorded. The liner-notes, written by Rowland, are most helpful. These notes are also printed in French and German. I have not heard the first two volumes of this cycle of Suites. However, based on this present two CD [set] I can only imagine that they will be equally successful.

Handel continues to be revered as a master composer and his Harpsichord Suites are among the finest instrumental works of the period. This latest double-CD release in Divine Art’s excellent recordings of Handel’s unjustly neglected harpsichord suites features exquisite performances by veteran musician Gilbert Rowland … splendid playing and outstanding instrument.

It is fascinating to have both early and mature works by Handel presented together, and Rowland has once again provided comprehensive notes on the music and its context, while the recorded sound is excellent. The complete recording of Handel’s harpsichord suites is a tremendous undertaking. This will be a hugely enjoyable recording for all those who appreciate Handel’s genius.

Gilbert Rowland brings spectacularly fine playing as Handel’s marvellous invention pours out. Absolutely terrific.  Gilbert Rowland draws so many lovely phrases, colours and textures to add to his terrific fluency, joy and sheer panache. He also brings natural authority and command. The recording is absolutely first class and there are excellent booklet notes by Gilbert Rowland.The combination of Handel, Gilbert Rowland, Wooderson’s fine harpsichord, the recording venue at Holy Trinity Church, Weston, Hertfordshire and the recording engineer John Taylor is unbeatable providing, as it does, a collection of these wonderful suites that I will return to again and again. Sometimes with a project of this kind everything comes together as it does magnificently in this series. At mid-price these discs should be snapped up without delay.

Östlund’s music possesses the most vital ingredient for a composer: He makes you want to listen to him. Östlund possesses a notably poetic spirit, with a touch of sentiment and melancholy. He balances this with an impish wit that is really quite delightful. Jonathan Östlund is an engaging composer who clearly has a bright future ahead of him. Anyone who relishes lyricism and a poetic spirit should find much to enjoy in this album.

Östlund writes in a tonal manner and his evocative compositions have no reservations; creating soundworlds of fantasy, Östlund seems to have no end to his reservoir of inspiration.