Reviews

This is an auspicious Volume 1 to launch Metier’s Beethoven Explored series, and it begins with an ideal performance of Beethoven’s last sonata Op. 96. That is an endearing and unique work which I particularly love and cherish – and in earlier years had often played it at home with violinist friends. Everything here makes me smile with pleasure at its ‘rightness’ – balance, articulation and phrasing, and the tone quality of both instruments. I am tempted to say this is the best recording of Op. 96 I know. No worry or competition though; this series is unique in its purpose and as such is to be unreservedly welcomed. Full informative background notes by the violinist and everything else in the safe hands of David Lefeber.

The playing is articulated with beautiful clarity, (enhanced by a notably clean recording); it’s a well-lit musical landscape in which all kinds of harmonic and textural details achieve prominence

In which we find the dead solid perfect violin/piano duo doing some skilful and interesting juxtapositions on the meat of the Beethoven canon. …A tasty set that gives the classical fan a mighty jolt and something to share with pride.

The piano quartet adaptation of Beethoven’s Third Symphony provides the opportunity to listen to the piece as if it were a new composition. A significant share of this experience is due to the excellent performers. Whoever expected a dry, bloodless Beethoven, will be pleasantly surprised. The orchestral sound is not missing at any moment. This recording allows a fantastic insight into Beethoven’s composition workshop and allows us to experience the Third Symphony in a way as a new masterpiece. Conclusion: a splendid recording, characterized by technical meticulousness, historic-style sensitivity and post-creation sensibility.

This version for piano quartet delivers a refreshingly purified and, with its rich detail, a surprising new perception of the (assumed) homage to Napoleon Bonaparte. The pianist Aaron Shorr, violinist Peter Sheppard Skærved, viola player Dov Scheindlin and cellist Neil Heyde play this transcription with such verve and energy, that the orchestra is almost never missed. Thanks to the outstanding, well-rehearsed and well-balanced quartet the devoted Beethoven-fan can take an exciting new look at the beloved and brilliant symphony.

The anonymous transcriber [… it must seem very likely that it was Beethoven himself … ] not only distributed most of the pitches of the original among the forces with remarkable skill, but also forged a convincing piece of chamber music in its own right out of the symphonic original. The ear is often drawn to previously less noticeable features of the score through its presentation via such different forces. The instrumentalists are equally accomplished, perhaps particularly Aaron Shorr, whose impressive pianism provides a staunch backbone to the ensemble.

The piano quartet adaptation of Beethoven’s Third Symphony provides the opportunity to listen to the piece as if it were a new composition. A significant share of this experience is due to the excellent performers. Whoever expected a dry, bloodless Beethoven, will be pleasantly surprised. The orchestral sound is not missing at any moment. This recording allows a fantastic insight into Beethoven’s composition workshop and allows us to experience the Third Symphony in a way as a new masterpiece. Conclusion: a splendid recording, characterized by technical meticulousness, historic-style sensitivity and post-creation sensibility.

It takes an exceptional performance to prevent a more comfortable feeling of familiarity taking over. I was expecting that this disc would have largely the interest of an historical curiosity and was amazed that right from the opening those original feelings of excitement and wonder returned. The listener hears the Symphony in a new way, wondering what will come next and often surprised by apparently new detail. I suspect that my enthusiasm may in part be due to the quality of the performance, which meets all the challenges of the scale of the work in an impressive fashion. Ally this with a well balanced and clear recording and the result is a disc which is worth having no matter how many versions you have of the original.

By turns seductive and rude, playful, violent and gloriously low-tech

I found most of these pieces fairly interesting … most are composed for solo voice, with sopranos Julia Doyle and Juliet Fraser exemplary in the combination of perfect vocal placement, pitch and rhythm. The brief appearance of counter-tenor Tom Williams showed that he has a really splendid voice, The interesting tightrope walked here between seriousness and wry humor will, I am sure, lead different listeners to hear this music and get different things out of it than I did.

After hearing this beautiful CD, I am keen to discover much more of Gorton’s music… it seems to me lyrical without being soft, complex without being threatening, cool without being cold. It is intricately crafted, but it wears its intelligence lightly.

Contemporary classical is alive and well in … music that seems difficult to play but certainly rewards the listener for sticking with it. A pretty solid bet for the classical malcontent that wants to chart some new waters.

One can only marvel at the dedication and precision of the musicians. Both violinist Peter Sheppard Skaerved and cellist Neil Heyde… are virtuosos of the first rank.

The CD is neither mawkish nor exploitative, but a genuine attempt to create a meaningful art work for a moment that cannot be forgotten.

This album contains only three of his seven works confronting the sub­ject, and it makes me curious to hear more. These are not some vainglorious, grandiose showy scores, but instead ut­terly personal, introverted creations. His sincerity is always apparent. Sound is full and well balanced in keeping with the urgency of the writing, and Malone’s notes are illuminating, although it may be best to allow the music to make its own effect before reading about his methods and processes. There is something obsessive and exacting about his highly structured attempts to confront 9/11. It is not an easy listen … but I really admire Malone’s intricate style and invention.

The New World Ensemble give [Eighteen Minutes] an intense and finely played performance. [Requiem 77] is a strangely mesmerising and disturbing piece that repays repeated listening. Christian Elliott tackles this difficult piece wonderfully. Angels and Fireflies receives an excellent performance. This disc is full of immensely emotional content, These works are excellently played by all the artists concerned. There is a fine recording and informative booklet notes by the composer. This is not an easy listen but very worthwhile and at times emotional nevertheless.

Kevin Malone deals with the horrors of 9/11 in stylistically varied music. The result is emotionally gripping. Victoria Daniel and the Manchester Sinfonia under Richard Howarth offer a very coherent and musically striking performance, full of expression and musical beauty, with an excellent recording. Overall, a production that one can hardly escape emotionally. – Interpretation: X X X X Sound Quality: X X X X Repertoire: X X X X Booklet: X X X

Blunt displays a fertile imagination and is served in exemplary fashion by the indefatigable Murray McLachlan. Magical performance… A fascinating introduction to a composer whose music deserves wider currency; recommended.

Works of real depth and substance … brilliantly played by McLachlan. Blunt is extremely lucky in his pianist Murray McLachlan who does so much to bring out all the beauties and attractions of these works. The recording is excellent and there are booklet notes by the composer.

Well worth the wait… showcases Dan’s clear and precise dulcimer and guitar playing along with his superb vocals. Above all, I am gobsmacked by Dan’s amazing ability to provide such compelling and lyrical dulcimer accompaniments to his singing. You’ll note that I am very partial to the vocals but I’m betting you’ll love it all