Reviews

Impeccable clarity, flawless articulation, and period perfect embellishments…both the impeccably noble performance of Gilbert Rowland and the first-class engineering of John Taylor have created an indispensable addition to the libraries of collectors of fine recordings of early music.

Carson Cooman chose the freshly renovated post-romantic Link/Gaida organ of the Pauluskirche in Ulm with its fantastic tonal possibilities. The music selection does the rest in creating an extraordinary listening experience—from smaller character pieces and meditations to several dramatic, large-scale works that show the entire range of contemporary organ music. His technical as well as tonal choices are sublime beyond any doubt. These recordings are certainly reference recordings of the respective pieces—but above all a real treat!

Overwhelming, for several reasons. First of all, the instrument’s sound is simply inspiring… the experienced organist Cooman plays according to all the rules of the art of registration. Above all, however, the works themselves are what the CD title promises: accessible contemporary organ music by international contemporary composers. Top form. Music 5 stars: Sound 4½ stars.

Companions is a remarkably coherent recital. Contrast aplenty in a satisfying, well-recorded disc.

This is fascinating, compelling music, brilliantly realized. Rarely has following a score [Weaxan] given me so much pleasure; to see such detailed realization is a joy indeed. I look forward to hearing more.

Cowie has a fine ear for color and texture, and he also gives shape to the music through a carefully designed rhythmic ebb and flow. Contrapuntal textures are important in his music. This is the kind of music usually only performed by artists who are deeply committed to it, which explains the excellence of the performances here. My own appreciation grew the more I listened, and in the end I found an almost hypnotic attraction had set in.

This delightful disc of suites from two of Sergei Prokofiev’s most successful ballet scores arranged for clarinet and piano is effective because of [the artists’] understanding of, and appreciation for, music written for the dance. Scott plays with rhythmic flair, sensitivity, and wit, all qualities that serve this music very well. This should appeal to all clarinet lovers, but also beyond that to anyone who would enjoy hearing this music in a different but effective guise.

The performance by Turner and Lawson is uniformly excellent, allowing for the blend of the two instruments to complement each other. About two hours of neatly entertaining works that show that the recorder has a future as a chamber instrument in modern times; i.e., not just an anachronistic pretty, if soft, sound. If you wish to know how an early instrument can fit into the sound world of contemporary music, this is the disc; entertaining, eclectic, and fully expressive of the possibilities of the recorder and piano. Highly recommended.

This collection reveals a composer of significant talent and an individual voice. Sensitively and colorfully played by Duncan Honeybourne, who also contributes the fine program notes. Excellent recorded sound rounds out the picture.

Violinist Skærved does a nice job of these works, running easily over his instrument, sounding at times like a folk fiddle and at others like a performer quite at home in the roulades that comprise the variations.

Listener-friendly performance, filled with warmth and color, on a superbly recorded Steinway & Sons Model D.

Passiontide was conceived as an alternative to Stainer’s Crucifixion, telling the story of Holy Week in the manner of a small oratorio. The sound is reverential, gentle and respectful – sincere and honest, and calming too. Anyone who likes choral music and / or church music should have a listen; it’s reverent without being overwhelming and is nicely traditional.

The works share a theme, that of grief, either personal or for the plight of people blighted by war. Unsettling and a little hard to listen to in places but it is those best of all things, interesting, and it’s got a moreish nature to it.

A revealing overview of the composer’s musical and wider aesthetic convictions. Does it all work? It does. Is it recommended? Very much so. Excellence of performers and performances is matched by sound.

This is a work worth hearing both for true believers and for those interested in English music. I certainly cannot think of anything else quite like it. The principal part goes to tenor, Philip Leech. His voice comes across as earthy and emotionally involved, which in this work I thought was right. Baritone Stephen Cooper as Jesus is particularly good, as is Jeremy Leaman’s deep voiced Pilate. Soprano Helen Bailey is excellent in a number of parts. The Knighton Consort are brilliant. There are many different style changes in Mold’s writing. Overall, lavish romantic English song is to the fore in many pieces alongside more traditional church choral writing.

Iman reveals his concern for respect for the score. The performer highlights the harmonic emanations, (Four stars awarded)

This CD has definitely prompted to me look again at Robert Saxton’s whole body of serious work. Performances throughout are excellent, and the sound never less than very good.

Stylistically, [the works] range from the naïve to the pretentiously avant-garde; most of them fit into the tonal, approachable, fun and enjoyable category. It would be a pity to miss some of the gems presented here. The music ranges from grade pieces for tyros to major recital works. Almost all of them would enhance a recorderist’s concert. The performance and the recording are beyond reproach. John Turner and Peter Lawson make a hugely talented team.

This is a thoroughly delightful disc. Ian Scott had the idea of replacing the orchestra with the solo instrument and having “the freedom to interpret the ravishing melodies”. In this he has been totally successful alongside accompanist Jonathan Higgins. There is an all-round quality to this issue in every respect.

[The] music is tonal, but no one will doubt its modernity. Performances all sound capable and committed. The 36 players of the St Paul’s Sinfonia sometimes sound far more numerous and play with excellent ensemble. The chamber pieces are done with fervor, their momentum helped by accurate, aggressive attacks with good phrasing. In the song cycle, baritone Williams turns in his customary stellar rendition.