Reviews

[The Symphony] is a massive work, in one movement but twenty-one sections which play continuously. The idiom is more reminiscent of Scriabin’s Prometheus than anything else, but is considerably more turbulent though shot through with moments of calm and beauty. [The Hymns] are set in very rich, indeed lush, late romantic-expressionist idiom, with very full writing for the choir and a solo soprano. This disc is newly recorded and very well too, in a reverberant acoustic which suits the music.

I was very taken with a disc of Artyomov I had for review last year so am glad to hear more of him. This disc is made of chamber works, all for unusual combinations. I found Star Wind beautiful and approachable. Scenes (Grand Pas) came as a complete surprise. The perky and witty music – not at all what I expect from him – is a jolly romp. I greatly enjoyed it.

Artyomov is an interesting, indeed impressive composer. Well worth exploring.

There is such full engagement and energy in all this playing. Goldstone and Clemmow never falter. They breathe and play as a single mind, whether at one keyboard or two. The disc’s closing track is perhaps both the most novel and amazing. Ravel’s version of Bolero for piano duet (that’s four hands at one very crowded keyboard) is simply impossible to imagine as it unfolds.

Intriguing encounter between early Romantic and “spectralist” … piano originals are energised and haloed by captivating new timbres.

80-minutes of sheer fun. The choice of music, as was always the hallmark with Goldstone is vast and informed throughout by a stylish and always tasteful approach to music that is inherently light-hearted, joyful, tongue-in-cheek, but never trivial. The scholarly though eminently accessible notes by Jeremy Nicolas, and Stephen Sutton’s mastering and design of the CD enhance the listening experience.

Soprano Margarette Ashton has a small, pretty voice … she makes a good shot at characterising the music and has a good grasp of ornamentation … the performances have a homely air that is not inappropriate

This disc has huge discographical and historical value. : The sound is way more than just acceptable; the piano has body, and one can relish McCabe’s artistry. This is a fabulous testament to the multiple talents of composer and pianist John McCabe.

This excellent disc should be self-recommending. The many layers of detail to be found in [Finnissy’s] music have made it, for me, some of the most rewarding music to explore in repeated listenings.

Seivewright performs these works with consummate skill. He has a knack for good phrasing, and in the slower movements he is careful to allow both technique and lyricism to emerge. Every bit as fine as the previous three [volumes]. Recommended.

The playing throughout is honest to a fault, technically assured, even dazzling at times. The engineering of Justin Kurtz is flawless, and the accompanying booklet thoroughly informative, delivering another excellent Metier release.

The performances of these typically unsmiling works are exceptional. They reveal commitment and understanding from both soloists which transcends the bleakness of the music. Amongst this dark music there are the occasional flashes of light and even beauty. The sound quality is excellent.

Combines a certain starkness with some more delicate moments – never harsh or strident. Interesting.

Terrific performances … A nicely judged programme that is superbly played and recorded with clarity.

Playing of astonishing brilliance from Anthony Goldstone and Caroline Clemmow … Britain’s premiere piano duo. It is because of the sensitivity and brilliance of Goldstone & Clemmow’s playing that these transcriptions work so well in their new guise. This is a beautifully produced disc with excellent notes by Anthony Goldstone which I thoroughly recommend.

These two pianists shape and mold the piano transcriptions so well as to deliver interpretations that are just as effective [as the orchestral originals]. Not even a smidgen of the essence of these pieces is lost in the transcriptions, mostly due to the emotive edge these two musicians bring to the table.

In Spe…is very rhythmic, very rich in contrast and brightly coloured. [In] Latin Hymns, the composer uses the solo voice in a very original way, setting it against the commenting choir. With colouristic accents, a fascinating play of shadows and light and sometimes ethereal sounds, it is a work of great emotional spirituality.

A brilliantly executed centenary tribute. A style one can fancy as at once an expression of suffering under Stalin and defiance of his rule.

One of the finest recordings of Froberger’s harpsichord music I have heard, with a wonderful-sounding instrument and magnificent playing from Rowland.

Something for everyone though people who like the technical side of the piano will probably like it most. The programme treads an uneasy line between a starker modern sound and something gentler.