Reviews

Divine Art are to be congratulated on bringing some of Dediu’s compositions to a wider audience through this release on their Metier label. The [music] is often simultaneously arresting, earnest yet quirky and demands that any listener pay it close attention. There is no mistaking the sweeping, virtuosic verve that both players imbue the music with, making a fully convincing case for it. For the listener in search of new discoveries this release proves revealing of different aspects upon repeated listening. If you are feeling adventurous, why not give this a try.

This is an appealing CD. All the music here is accessible, well-written and musically rewarding. The performance is bewitching from start to finish. The sound is ideal.

Exuberant and passionate performances of brilliant music.

This is a valuable disc that, in its presentation of so many ‘discoveries’, offers insights into Ysaÿe’s compositional directions over four decades.

A fascinating exploration of vocal and choral music by numerous Irish composers – juxtaposed with recitations of Irish poetry. I am deeply struck in the delivery of these many poems. Laetare Vocal Ensemble, the Dublin-based choir, give a really heartfelt rendition of all the works they perform in. Musically a fascinating album, but it speaks volumes of bigger things.

This is a fabulous, large collection of duets that belongs in every piano teacher’s library. The key to this release (and a good part of its success) is the freshness each student brings to his part. Add in the sensitive and sometimes demanding collaboration by teacher Gray, and you get an unmatched program. This collection is quite amazing.

Sawa was the greatest organ composer in Polish history. I found this composer’s music to be well worth exploring. [Cooman has] considerable skills and innate understanding of the instrument as a performer, as demonstrated in these enjoyable performances.

You will never hear a more perfectly attuned and harmonious player than Skærved, whether with his instrument or in putting his considerable expertise at the service of the composer…. , played with flawless intonation and exceptional musicianship. This disc is just a joy from first note to last.

White favors an embodied lyricism, and his vocal writing flexibly feeds a number of solos, duets and trios often treated a cappella or with the complicity of a flute which Jenni Hogan manages in a controlled way to make a character in its own right. The female quartet undoubtedly plays in favor of this beautiful musical homogeneity.With the help of the performers, Alastair White infuses this virtual dramaturgy with a musical intensity that succeeds in giving it substance, a feat that could not better correspond to the theme of this opera.

Intriguingly complex and moving, García’s music defies categorization or, worse, labeling. The Amernet Quartet plays this music with complete discipline and sensitivity. The engineering is exemplary. I hope that Metier will continue to record the fascinating music of this pioneering artist.

An intriguing new sub-genre…strangely captivating… themes of transformation, adaptation and limitless metamorphosis. Poukens fully inhabits this complex score, trampolining fragmented melodies and lyrical quasi-arias. White’s intelligent use of the saxophone’s wide-ranging palette means that the scoring never feels under-nourished.

This year’s releases get better and better. Divine Art has recorded for our delight this attractive disc of melodic Russian/Slav music. It features the gorgeous playing of Ian Scott. A man blessed with many talents, Robin White is the conductor, composer of the album’s core work, arranger of all 13 tracks, and a major contributor to the booklet notes. Pleasure-giving music.

Lupu must be congratulated for resuscitating these pieces and bringing them to life in a manner that almost sounds like the composer himself playing them. A truly stupendous achievement, recommended to all lovers of Ysaÿe’s sonatas.

Maestri Lupu, Bonamy and Mann deliver stylish, elegant, and often virtuosic performances of Ysaÿe’s music.

The playing by Peter Sheppard Skærved is excellent; the violin used for most of the recording, which dates to 1664 but whose maker is unknown, has a warm and full-bodied sound that is instantly attractive; a second violin is an absolutely wonderful, even-toned Girolamo Amati instrument. What is noteworthy is the uniformly high quality of the material: every single composer was clearly skilled at writing for solo violin, exploring the instrument’s capabilities within a constricted length, and there is little to distinguish the preludes by the virtually unknown composers from those of the more-famous ones.

An extremely fine recording, strongly recommended. There is a great variety of mood and structure, and inventive transformations and variations of the themes. Charlston is a very fine clavichordist, sensitive to the nuances of the music and the character of the clavichord. The 20-page booklet is full of useful information and insights.

A glorious sound and enjoyable music recorded in a resonant acoustic, giving a truly luscious sound. Rowland plays with energy and a good forward drive.

Highly listenable, enjoyable and imaginative.

Schliessmann’s commanding performance is beautifully variegated… [his] technique is rock solid. Considered, polished reading… magnificently powerful, warmth and academic integrity.

This is a very fine release/re-release indeed. Burkard Schliessmann proves a first-rate interpreter of a variety of Romantic piano music– and in so doing, affirms or reaffirms the quality of the works he plays. His finely balanced and carefully considered handling are first-rate. Top-notch interpretations of multifaceted works.