The key feature of the English pianist’s approach is more evident instability which pushes the balance towards the Romantic rather than the Classical. Boyle uses this ‘instability’ to invest the works with a patina of pathos and transforming them into a recipe of sound in which the lines of a past tradition from Mozart through Beethoven come through.

” —Andrea Bedetti, CD Classico

The wonderful playing by Anthony Goldstone and Caroline Clemmow impresses with a great sovereignty, plenty of poetry, which takes Schubert’s moods into account, and just as much energy and drama.

” —Remy Franck, Pizzicato

[The piano version of Enigma Variations] will never supplant the orchestral version, but it is a pleasure to hear. It is splendidly played here by Elspeth Wyllie. The performance is superb in this eclectic selection of music. Elspeth Wyllie plays for all the pieces. Violist Alexa Beattie makes a fine contribution to the Rubbra. I felt that the cellist, Hetti Price engaged well with the Kenneth Leighton and Claire Overbury gave an enchanting performance of the Bowen Flute Sonata… [A] wide-ranging and thoroughly agreeable CD.

” —John France, MusicWeb International

The artist who lives in seclusion in southern Portugal … conducts a coherent search, reflecting and meditating, in order to establish her artistic and aural approach. Her result is not typical because her interpretation and the fluency of her musical speech is highly influenced by a very careful, pronounced way of phrasing. So the fragmentary Variations become a continuous flow within which the alternation of the variations appear like scenes on which to pin the phrases: a legato, a rubato.. which prepare the listener for the format of the later and great work, the Art of Fugue.

” —Andrea Bedetti, CD Classico

Three large and complex pieces requiring all types of flutes … bursts of gentle near-minimal motion and acidic modernity.

” —Grant Chu Covell, La Folia

A rich serving of French and French-inspired delights, all recorded in their solo piano arrangements for the first time.

” —Oliver Condy, BBC Music Magazine

Generosity of duration contends with novelty of content in this fulsome collection. Wyllie has a firm yet sympathetically yielding grasp of this fine music [Enigma Variations] and… makes it sing without cloy or shudder.. Enigma works well and is accorded a natural voice that demands to be heard. The added works are also well worth your listening contemplation.

” —Rob Barnett, MusicWeb International

Mind Music began as a fundraiser for Parkinson’s UK. Yet these readings of clarinet music are upbeat… wonderfully rich, well-tuned sound. Marsh and Jordan meld the solo instruments with orchestra into a cheerful, satisfying whole.

” —Roger Knox, The Whole Note

Artyomov’s writing becomes increasingly beautiful. The closing minutes of the symphony are very moving. Ave atque vale [is] a good workout for the percussionist. Ave, Crux Alba is the most immediately impressive work. Artyomov has created a strong and noble melody for the chorus, and dressed it in splendid orchestral garb. In concert, this would get a standing ovation. The chorus is solid as a rock. The National Philharmonic Orchestra of Russia is a world-class ensemble.

” —Raymond Tuttle, Fanfare

Most of the pieces are reflective and meditative in nature, although there is still a good bit of contrast in style from one piece to the next… all exquisitely rendered by Erik Simmons. Despite his prolificity, Cooman is by no means rewriting the same piece 100 times, as some prolific composers have done. Well-recorded and superbly performed and registrated organ recital.

” —David DeBoor Canfield, Fanfare

I cannot fault this CD. The playing is excellent in every detail: the sound quality is ideal. It is so refreshing to hear ‘modern’ music that is not in hock to Einaudi… Kevin Raftery may be a serialist: he might use expanded tonality or atonal theories; his music is always interesting, complex, touching, thought-provoking and ultimately satisfying.

” —John France, MusicWeb International

This material is exceptionally well written, lushly conceived in an unabashed neo-Romantic style. There is also a strong flavor of Liszt’s tone painting. Alfonso Soldano plays this music beautifully, revealing a rich sense of texture and tonal shading.

” —Peter Burwasser, Fanfare

This is a striking CD, which is utterly compelling from start to finish. Natalie Schwaabe is worthy of attention, and this, her debut solo CD, serves as a fascinating snapshot of what the piccolo can offer, both in terms of repertoire and expressivity. The quality of musicianship from Natalie Schwaabe and Jan Philip Schulze allows each of the pieces to be presented with a clear communication of expression and emotion, and their technical mastery of the material means that the listener is able to concentrate purely on the musical without technical concerns ever getting in the way.

” —Carla Rees, Pan - The Flute Magazine

Listening twice to this CD was intensely rewarding. The variety of harmonic surprises, the sheer melodic inventiveness of the composer, kept this listener interested. Barbara Karaskiewicz is a pianist of rare gifts: always sensitive, assertive and powerful at crucial times, exquisitely handling the lyricism that abounds in these miniature gems.

” —Rafael de Acha, Rafael Music Notes

[Rowland’s] playing is nothing short of excellent, restrained when sobriety is needed, brilliant when brightness is in order, always elegant and technically dazzling. As usual with anything issued by Divine Art, the production by Stephen Sutton and the boxed packaging are first class, the engineering by John Taylor is splendid, the multi-lingual liner notes by Gilbert Rowland himself scholarly yet entertaining. For the inveterate collector this set is well-worth acquiring.

” —Rafael de Acha, Rafael Music Notes

We dipped our toes into the waters of Arnold Schoenberg and came up smiling. This does create an atmosphere, stimulates your brain and is surprisingly enjoyable. Aylish Kerrigan and Dearbhla Collins bring out the warmth in the music; it could be jarring but never is.

” —Jeremy Condliffe, The Chronicle

From the outset this outstanding piccoloist presents a chal¬lenging and varied program of 21st-century delights, delivered with impeccable intona¬tion, rhythmic precision, sensitive musician¬ship and finesse. Schwaabe’s fluid control of even the highest notes is dazzling. Utterly brilliant CD.

” —Nancy Nourse, The Whole Note

The performances by the Kreutzer quartet are assured… they are very good. Moreover, the Finnissy was written for them: they are great champions of his music. The recordings are clean and clear and the sleeve-notes, by the cellist of the quartet, are helpful.

” —Stephen Barber, MusicWeb International

We can so easily miss new stars rising in the firmament of music composition. But for me, unexpectedly, out of the ether (of BBC Radio 3) dropped a 4-minute jewel of a string quartet, and with a title that was hard to forget, Tide Purl by Liz Johnson. It was played by the Fitzwilliam Quartet as a trailer for a concert to launch 2-CD retrospective including all this composer’s work for the string quartet medium. . I was immediately hooked… [this] is a significant body of English music for string quartet.

” —Nigel Morgan, Tonality Systems

This recording, which collects together several of her chamber works, is a useful calling card to introduce her in our country. The works here boast styles recalling the musical traditions of the Middle East and Greece, there are also occasional flashes of the minimalism of Steve Reich and Philip Glass, and they show great attention to spirituality. The interpretation by the four members of Sound Collective or the mezzo-soprano Jess Dandy gives nothing to criticize. Spatially, reproduction is good with an airy, fast sound for this deep quartet.

” —Andrea Bedetti, Audiophile Sound