Reviews

This is probably a must-have CD for anyone who is interested in / enjoys choral music. All in all, essential for anyone with an interest in the variations of the human voice, but enjoyable for anyone else.

This is an important recording in many ways. Superbly played and recorded; played with attention to detail and opportunities for ‘orchestral’ colour changes.

Played with beauty… unusually sensitive performances. The playing is excellent and recorded with clarity.

Well played.

EDITOR’S CHOICE CD: This CD represents a triumph. An Indian-inspired soundscape redolent of exotica, meditation and romantic adventure – this makes the listening experience a pleasure.

Greek Orthodox liturgical texts form the basis of “Byzantine Doxology”, a very extended setting [which] uses a small vocal ensemble that Petridou employs to produce considerable purity of sound. The vocal writing is skillful, although there is greater variety in the 15 songs, split between two soprano voices and based on more-modern poetry.

The sources of the texts clearly show Kakabadse’s many interests… Indeed, Kakabadse’s wide-ranging interests are made even clearer in Odyssey, which is a cycle, and a fascinating one. Even listeners who are not steeped in Greek history will find much of the musical material intriguing, and the work as a whole does a very fine job of taking an audience through thousands of years of experience in not much more than half an hour.

There is contrast aplenty in the five works, showing one way in which a strong Greek heritage may be altered by and even subsumed within other cultures. Athanasiadis spent years living and studying in Tokyo, and the pieces on this CD are permeated by Japanese and Chinese aesthetics and sonorities.

This is a delightful album… technically assured but laid back, gentle and delicate timbres. The vocal sections are striking.

A hugely interesting double CD…all exhilarating stuff, passionately performed and superbly recorded.

Richly textured music reflects Lydia Kakabadse’s wide cultural heritage. ‘Odyssey’ [is] a stunning and ambitious choral work… an inspiring musical journey. Clare MacCaldin sings ten elegant and thoughtful songs with assurance and subtlety.

Susan Milan is an influential exponent of the modern flute. Her playing has a unique voice within the flute world… Milan’s playing is expertly accompanied by pianist Andrew Ball. This is an excellent collection of new British repertoire, which gives the works well-deserved exposure. Milan plays with a strong tone and a sense of conviction as well as impressive technical control. Andrew Ball’s piano playing is excellent throughout.

The art of High Modern vocals is special and very demanding. Soprano Sara Stowe shows us how to meet the challenge and excel. Ms. Stowe is a true artist and so each realization convinces and captivates. Those who listen with a marked receptivity are in for a real treat! Bravo!

This recital could hardly be bettered… one can hardly imagine any [of the pieces] being better performed. Sparkling performances… excellent recorded sound.

It was a real pleasure to listen to this recording. Mari and Jones are extremely accomplished as musicians. The technical demands seemed effortlessly handled, offering pristine interpretations.

Lontano showcases assorted chamber music by the London-based Australian, Jennifer Fowler. Others may find a more distinctive voice than I did, but either way the performances are good.

John McCabe gives lively, loving performances of Scarlatti and Clementi – playing the latter with special feeling for a still underappreciated figure.

Attempts to describe this unique and compelling music are going to do it less than justice. It has to be heard. . Basil Athanasiadis is developing a body of work that is very special, lasting and repeatedly rewarding… precious, gentle, deeply beautiful attention to detail. A wonderful follow up to ‘Soft Light’ and is highly recommended. Congratulations, blessings and thanks to all concerned.

Wonderful to see John McCabe finally being recognised as a pianist. McCabe’s use of sustaining pedal and generous sound offer a full-fat experience… an indispensible release.

Mostly wonderful: McCabe does not overdo his pedal use, performs each work with care and clarity, and does not make the pieces sound as if they belong in the Romantic era. McCabe’s pianism on these works certainly stands the test of time – and, for that matter, so does the sound, which has greater warmth and richness than did most digital recordings from this time period. McCabe’s sensitivity to the music’s structure and his willingness to downplay the piano sound rather than emphasize it lead to a highly enjoyable listening experience.