Reviews

The playing, the booklet notes (Goldstone, commendably, writes his own) and the whole production speak of a dedication which is entirely praiseworthy… The set of seventeen Ländler that open this collection is immediately attractive. The clean fingerwork and careful pedalling are in fact typical of Goldstone’s playing throughout this set. The recording is a model of clarity, retaining at the same time the fullness of the piano tone… Goldstone’s innate musicality is ever-present here (in the Impromptus)… The sense of dramatic tension Goldstone brings to the A minor Sonata, D845, is more than welcome

Goldstone is never less than interesting, and he is thoroughly distinctive when he turns on the power and impetuosity… When he does, such as in the Four Impromptus, he’s among the best Schubert pianists on record… Recorded sound is superb with a very wide soundstage ready to pick up every nuance and detail. It’s dynamic range is outstanding, and Goldstone’s dynamic range is also wide. Summary: A hearty recommendation for this volume and the previous ones as well. Goldstone is a major-league pianist who compares well to the Schubert of Kempff and Uchida.

[the Reliquie] sonata receives a worthy performance without excesses and with great clarity of articulation; Goldstone’s composition of the four bars missing from the original edition in the second (variation) movement -Schubert’s manuscript having been lost – sound natural in their place. Two additional pleasures come in the shape of an Allegretto in C (also completed by Anthony Goldstone) and Schubert’s single Diabelli Variation – and Goldstone should now be congratulated on the completion of his three-volume account of Schubert’s piano masterworks.

At his best, Goldstone is an excellent Schubert pianist, as is witnessed particularly in some of the shorter pieces… [Goldstone’s completions of the unfinished Sonata] have a sensitive feeling for what Schubert might have done…

Goldstone’s feel for phraseology and motion are notable… Goldstone the composer is to be admired

Music from a pianist who feels every note.. The double-CD is one of the finest to appear in recent times.

Good to see the enterprising Divine Art label honouring Glass’s piano music. Seivewright proves conclusively that this is music fully deserving of attention. The final pages of the First Sonata are almost Brucknerian in their majesty especially as rendered here by Seivewright, and as captured by his excellent engineers. Seivewright is a most sensitive guide to this music

Seivewright’s interpretations are fastidiously detailed… he plays with a winning ease and fluency. A fascinating opportunity to discover one of Denmark’s most talented musical sons

[Seivewright’s] playing is cool and precise… the recorded sound is first rate. For those with an appetite for underserved Romantics (and there are many of you) this disc is worth a look

Seivewright [plays the sonatas and Fantasy] like they’re late Beethoven (or Celibidache conducting Bruckner): the approach really works, too

For me the smaller pieces were more interesting… fine playing

Peter Seivewright provides testament to his productive curiosity in opening up new parts of the repertoire. This production, published by Divine Art, shows that the exercise is worthwhile. With loving attention to detail and a majestic touch, Peter Seivewright understands just how to bring out the varied emotions of this music. This splendid recording demonstrates that Louis Glass belongs to that class of composers who should have earned a firm place in the repertoire.

Of the two sonatas, the A flat major is a piece of great nobility, well structured and highly integrated thematically. It wears its Romanticism coolly. But Glass’s major strength lies in the exquisite, often wistful and charming small lyric pieces.

During recent years record collectors have been grateful for the enterprise and imagination of Stephen Sutton’s aptly named Divine Art label, and here is another winner. …the Chorus and Orchestra of the Prince Consort has produced an infectious recording of what deserves to be a regularly staged member of the Savoy Opera repertory. With 15 singing and one speaking parts Haddon Hall is no inexpensive work to stage but listening to these CDs is such a delight that it must be possible to convince the legion of G&S quality amateurs to bring it to life. The Sir Arthur Sullivan Society has collaborated with Divine Art in this project and their number is 01388-710308. This is Sullivan at his best… we have a wealth of solos, duets and ensembles filled with drama, eloquence, and sheer joie-de-vivre. Not to be missed.

the whole score is masterly…the soloists and chorus recreate the authentic period style with élan…enjoyable and well-recorded…booklet notes are excellent…most recommendable

[Haddon Hall] is..an undeserved obscurity, as this splendid new recording from the Divine Art amply proves. The score is prime Sullivan; he never wrote a lovelier aria than “Queen of the Garden bloomed a rose.” Haddon Hall…is…nearly flawless. High praise for the excellent cast, especially the lovely Mary Timmins as Dorothy Vernon, Fiona Main as Dorcas, and Maxwell Smart as the McCrankie. Good choral singing especially, and fine playing by the orchestra. A libretto is included. In an era in which few operas are being recorded at all, much less repertoire rarities, this is a true find, and is highly recommended.

most impressive…very professional…chorus is excellent…recommended

The opera comes vividly to life in this excellent recording…will give much pleasure

a Schubertian of the first rank…, combining imagination, intellectual grasp and alert keyboard command…his readings of the two late sonatas are most distinguished, with a spiritual focus that lifts them above the ordinary… a thoroughly rewarding listening experience.

Very imaginative and enjoyable