Reviews

[The piano version of Enigma Variations] will never supplant the orchestral version, but it is a pleasure to hear. It is splendidly played here by Elspeth Wyllie. The performance is superb in this eclectic selection of music. Elspeth Wyllie plays for all the pieces. Violist Alexa Beattie makes a fine contribution to the Rubbra. I felt that the cellist, Hetti Price engaged well with the Kenneth Leighton and Claire Overbury gave an enchanting performance of the Bowen Flute Sonata… [A] wide-ranging and thoroughly agreeable CD.

The key feature of the English pianist’s approach is more evident instability which pushes the balance towards the Romantic rather than the Classical. Boyle uses this ‘instability’ to invest the works with a patina of pathos and transforming them into a recipe of sound in which the lines of a past tradition from Mozart through Beethoven come through.

The artist who lives in seclusion in southern Portugal … conducts a coherent search, reflecting and meditating, in order to establish her artistic and aural approach. Her result is not typical because her interpretation and the fluency of her musical speech is highly influenced by a very careful, pronounced way of phrasing. So the fragmentary Variations become a continuous flow within which the alternation of the variations appear like scenes on which to pin the phrases: a legato, a rubato.. which prepare the listener for the format of the later and great work, the Art of Fugue.

The wonderful playing by Anthony Goldstone and Caroline Clemmow impresses with a great sovereignty, plenty of poetry, which takes Schubert’s moods into account, and just as much energy and drama.

This is much more than a merely worthy addition to the recorded repertoire. It is a fine collection of works, admirably performed, and of pieces imaginatively chosen and too rarely performed. Performances throughout impress. Stephen Barlow and the Northern Chamber Orchestra are on excellent form (Lynsey Marsh directs for just the Mendelssohn) and the collection will give enormous pleasure.

Three large and complex pieces requiring all types of flutes … bursts of gentle near-minimal motion and acidic modernity.

A rich serving of French and French-inspired delights, all recorded in their solo piano arrangements for the first time.

Artyomov’s writing becomes increasingly beautiful. The closing minutes of the symphony are very moving. Ave atque vale [is] a good workout for the percussionist. Ave, Crux Alba is the most immediately impressive work. Artyomov has created a strong and noble melody for the chorus, and dressed it in splendid orchestral garb. In concert, this would get a standing ovation. The chorus is solid as a rock. The National Philharmonic Orchestra of Russia is a world-class ensemble.

What does it sound like? Overall, it reminds me of an unlikely synthesis of Scriabin and Berg, and at times it also reminds me a little of film music (Jerry Goldsmith, maybe?) because of the music’s literally episodic structure and micro-structure (a gesture here, a contrasting gesture here, as if a movement were being illustrated). Sometimes we seem to be hearing the soundtrack to an invisible movie.

This material is exceptionally well written, lushly conceived in an unabashed neo-Romantic style. There is also a strong flavor of Liszt’s tone painting. Alfonso Soldano plays this music beautifully, revealing a rich sense of texture and tonal shading.

Natalia Andreeva is a thoughtful pianist who has already impressed the present writer several years ago. Natalia Andreeva is a highly talented, intelligent pianist who here offers a most rewarding program in superbly musical interpretations given with a rock-solid technique. This is music to get one’s teeth into, superbly presented.

As you’d expect, there’s plenty to admire. It’s the more luminous and intimate moments that are, on the whole, the most effective. The Scriabin opens with a finely col¬ored and evocative sense of mystery, for instance, [but] all in all, if you’re interested in getting acquainted with this talented artist—and you definitely should—I’d urge you to start with her Ustvolskaya.

This recording, which collects together several of her chamber works, is a useful calling card to introduce her in our country. The works here boast styles recalling the musical traditions of the Middle East and Greece, there are also occasional flashes of the minimalism of Steve Reich and Philip Glass, and they show great attention to spirituality. The interpretation by the four members of Sound Collective or the mezzo-soprano Jess Dandy gives nothing to criticize. Spatially, reproduction is good with an airy, fast sound for this deep quartet.

Elspeth Wyllie interprets [The Enigma Variations] with very clear piano playing… the pianist, who has made quite a name for herself, is a good partner to cellist Hetti Price in Kenneth Leighton’s beautiful ‘Elegy’ and to Claire Overbury in Edwin York Bowen’s Flute Sonata, a lyrical composition with a very playful Allegro con fuoco finale.

This delightful album is out to coincide with Elgar’s 160th birthday on 2nd June. We confess to finding Elgar a little dusty of late, so this CD opens him up once again to repeated listening pleasure. The Elgar is complemented by a collection of other work by British composers… all of it is, as we say, rather delightful. A real treat.

The performances by the Kreutzer quartet are assured… they are very good. Moreover, the Finnissy was written for them: they are great champions of his music. The recordings are clean and clear and the sleeve-notes, by the cellist of the quartet, are helpful.

Generosity of duration contends with novelty of content in this fulsome collection. Wyllie has a firm yet sympathetically yielding grasp of this fine music [Enigma Variations] and… makes it sing without cloy or shudder.. Enigma works well and is accorded a natural voice that demands to be heard. The added works are also well worth your listening contemplation.

I cannot fault this CD. The playing is excellent in every detail: the sound quality is ideal. It is so refreshing to hear ‘modern’ music that is not in hock to Einaudi… Kevin Raftery may be a serialist: he might use expanded tonality or atonal theories; his music is always interesting, complex, touching, thought-provoking and ultimately satisfying.

Most of the pieces are reflective and meditative in nature, although there is still a good bit of contrast in style from one piece to the next… all exquisitely rendered by Erik Simmons. Despite his prolificity, Cooman is by no means rewriting the same piece 100 times, as some prolific composers have done. Well-recorded and superbly performed and registrated organ recital.

Mind Music began as a fundraiser for Parkinson’s UK. Yet these readings of clarinet music are upbeat… wonderfully rich, well-tuned sound. Marsh and Jordan meld the solo instruments with orchestra into a cheerful, satisfying whole.