Reviews

The layout is chosen so that it forms a concert program of the piano music… it is clear that optimum contrast is sought, and that is also brought out in full. The duo now has about 40 CDs in their name and their standard is consistently out of this world. I do not think there is an integral recording of these pieces that is better than this. Here we hear perfectly produced sparkle and energy, but also poetry and intimacy. . It all runs like a clock, partly thanks to the wonderfully tuned and maintained Grotrian-Steinweg concert piano.

One minute you’re struggling with some very modern sounds, the next it’s easy on the ear and almost hummable. For the performers it’s probably a lot of fun to play, the intense moments broken up by the playful. [The Cello Suite] is magnificent… excellent sleeve notes. It’s a varied album and challenging in places, but somehow draws the listener in.

A monumental project by the marvelous husband-and-wife four-hand piano team of Caroline Clemmow and Anthony Goldstone, and the box makes a worthy companion to their three-volume collection of ‘unauthorized’ four-hand transcriptions. Clemmow and Goldstone play with seemingly effortless virtuosity and intelligence and are very well recorded.

Here, at last, we have a reissue of the only fully complete version of Schubert’s works for piano duet, and here Divine Art must be thanked for resurrecting these fine recordings. These are intelligently conceived and performed recitals, ones that bring the music [of] Schubert to life. Goldstone and Clemmow seem to be totally in tune with each other, which results in excellence throughout the set. A fitting tribute and memorial to [Goldstone’s] name and his prowess as an editor and performer.

An impressive project… I find all of the recordings in this collection to be infectiously engaging.

Certainly very musical and original, the Suites deserve to be considered on a level with those of Handel at the very least. These are masterful performances by Rowland, one of Europe’s most senior and accomplished harpsichord experts. Highly recommended.

[The Suites] turn out to be worth reviving. Skilfully made and loosely varied in form and texture…, I found them growing on me as Mattheson’s personality became more apparent. Gilbert Rowland’s playing is assured, robust and reliable.

Peter Hope is a composer whose experience shows in his craftsmanship and idiomatic instrumental writing. His compositional language is at once evident; frequently episodic and lyrical, but also energetic and virtuosic, rewarding as much for listener as player. This fine recording, with very attractive art work on the booklet cover, is a very welcome release from the ever-enterprising Divine Art label.

A thoroughly entertaining CD, which very evidently totally engaged the players who are on impressive form.

The playing on this disc by the late Anthony Goldstone is stunning from the first note to the last.This is an outstanding disc that introduces the listener to a wide conspectus of French ballet music… every note is played with style, technical ability and downright enthusiasm. The sound quality of this Divine Art disc is first-rate… The liner notes by Jeremy Nicholas are excellent

A charming piece of entertainment, in which complex music is reduced to an accessible essence so well crafted it almost seems lightweight. It’s all delightful. Goldstone plays superbly, as befits a man designed for pianos… a rather wonderful CD.

I listened to this superb CD several times and each time I discovered something new and even better. This music is magnificent and goes straight to the heart. All in all, an exceptional album of heavenly music. I highly recommend it as one of the best CD’s of the decade.

Most of [this music] is for violin, viola, cello & double bass—an interesting combination. The two songs … are sung with beauty by Jess Dandy and accompanied by the quartet. It is distinctly influenced by styles of the Renaissance and seems almost totally modal. These musicians of the Sound Collective play it with beauty of tone and conviction.

A coherent and occasionally forceful, largely reverential whole. Carson Cooman is a nimble, nuanced and eloquent advocate.

Not program music per se, but it is meant to be a large-scale meditation on this theme [St Francis preaching about holy poverty]. He employs a motive (FDA-Francis d’Assisi) and several Gregorian chant melodies in alternating toccata, fughetta, and meditative movements. Cooman’s success as a composer for the organ is due in large part to his innate understanding of the instrument as a performer. He plays a large and wonderful 1973 Marcussen organ found in the Laurenskerk in Rotterdam.

Polish-born pianist Barbara Karaśkiewicz plays these four works with great understanding, technical aplomb and interpretive skill. It makes a splendid introduction to the piano music of Karol Szymanowski.

The performances appear to me to be brilliant. This is an interesting exploration of modern music for flute, voice and other instruments. It is certainly avant-garde: it is never off-putting.

A coolness that doesn’t quite conceal the hint of a smile. Sorabji would approve…. all about atmosphere. The Fidelio Trio is fine musicians with an excellent sound.

The songs on this CD are wide-ranging and often involve various combinations of voices and instrumentalists. There are detailed biographies of the performers. The texts of all the songs are included. The CD is well-produced with splendid sound quality and convincing performances from all the artists

This is a most worthwhile disc of fine, well-made chamber music by a composer largely unknown to the wider world. Nicely clear, warm sound as usual from this label.