Reviews

The playing of French cellist Marie Ythier evidences utter comfort with the technical challenges of Murail’s serialism. The young cellist has an uncanny way of switching musical gears in order to inhabit the Ur-Romantic world of Robert Schumann and the contemporary sounds of Murail. Her technique is flawless, her interpretive gifts non-pareil, and her partners, pianist Marie Vermeulin and flautist Samuel Bricault are faultless associates in the ensemble’s chameleonic transitions from Schumann to Murail and on to Murail’s re-conceived Schumann-Murail conflation of Kinderszenen.

The passion for this music is evident in the performances of the sonata and duet.

Buckley’s writing is skilfully crafted. Chromaticism plays an important part in these settings which he uses creatively. Orla Flanagan’s Mornington Singers are an exceptional group of finely trained musicians, and their interpretation of the music is outstandingBuckley’s writing is skilfully crafted. Chromaticism plays an important part in these settings which he uses creatively. Orla Flanagan’s Mornington Singers are an exceptional group of finely trained musicians, and their interpretation of the music is outstanding.

Refracted Resonance by Sam Cave is a daring and beautiful exploration of new soundscapes on the modern guitar. From intimate and spacious mediations to virtuosic contrasts, Cave creates new worlds of sound in focused and thoughtful performances of new music and pinnacle modern works.

Loges delivers a musically rich performance highlighted by flawless diction, impeccable musicianship, elegant vocalism, and pliant idiomatic musicality, greatly helped by his superbly capable partner, Alexander Schmalcz. Loge’s pliant and burnished voice is eminently suited to this repertory. That sort of vocal sound coupled to the pianistic brilliance of Schmalcz is all this listener asks for and this CD delivers from start to finish.

This album of gentle piano music has a definite meditative quality to it. The music of Bach played by a top pianist who has spent years thinking about how to play — if you want calm and measured music, there’s not much could beat this.

The Ives songs are magical, illuminated by Kerrigan’s interaction with the text. The discographical value here is concentrated on the Cowell songs. The sheer variety of expression held within the 29 songs on this disc is huge. Kerrigan’s brilliant coupling has its own value, offering its own unique experience. Recorded well and with excellent documentation, it comes highly recommended.

The great British song tradition is encapsulated here. Mark Rowlinson is a superb baritone, his voice honeyed and lyrical; Peter Lawson is a superb accompanist, and the whole is beautifully recorded. In short, this is a lovely collection of songs.

John Buckley’s music resists classification in a single “school” or “ism.” This makes for a pleasantly diverse listening experience. Buckley could not wish for better advocates of his music, which shines under Flanagan’s deft direction. These performances and the music itself are worth the attention of listeners looking for fine modem choral music.

[The organ] is a magnificent instrument sonically. Beautifully produced and recorded, with more than ample booklet notes by the composer him¬self, the celebration of the art of Carson Cooman continues.

The soloists on the CD are somewhat familiar in the West and they do not disappoint. The orchestral playing is very good too. I don’t think anyone will complain about the performances, as long as they can accept the fact that these works take an emotional toll. Artyomov is a gifted composer and I am glad that Divine Art has decided to reissue (now) eight CDs of his music.

Both performances by the Mark Pekarsky Percussion Ensemble sound good to me, and the engineering is fine. For me, the standout work on the disc is the 29-minute A Garland of Recitations. This work definitely held my attention, and the soloists, in particular, give the music their all.

Original, distinctive… a true musical voice. Strongly recommended.

Simply put, I have never heard a piano as well recorded as on this album. Burkard Schliessmann is superb.

The approach feels very much in tune with Ustvolskaya’s uncompromising aesthetic. The performers rarely exaggerate the dynamic extremes—and there are plenty of dynamic extremes notated in the scores—and seem as concerned with maintaining tight ensemble and careful balances as with exploiting the music’s Expressionist drama. The fact that Andreeva is the guiding force behind the project is apparent from the amount of detail and commitment in the piano playing.

Marie Ythier displays powerful gestures and an impressive palette of colors. Between fiery élan and expressive effusions, the expansive lines and the warm tone of her cello delight us.

Alexander Ffinch gives a vibrant performance of Jongen’s Sonata. ‘Dancing Pipes’ is played with excitement and a sense of drama and attention to registration which provides colour to this compulsive piece. [In the Liszt] Ffinch presents a convincing and satisfying account of a work regarded by many as being one of the masterpieces of nineteenth-century organ music. An enormously satisfying CD. The playing overall is ideal, and the sound quality is well-balanced.

Anyone who finds the music of Shostakovich oppressive must listen to that of his eccentric student Ustvolskaya. Pianist Natalia Andreeva has researched and played the scores of Ustvolskaya for more than ten years. Every choice she makes here with violinist Evgeny Sorkin is well thought out.

The fine dozen players of the Mexican Baroque Orchestra, conducted by Miguel Lawrence, do lovely work on all eight of the concerti…. marvelously musical. The CD is elegantly packaged and impeccably engineered.

You’ve got to like the sound of the baritone. We’ve had some similar albums recently but this is definitely a cut above.