The performances by the Ensemble Epomeo are beyond praise: lively, warm-toned and well balanced in excellent sound. Cellist Kenneth Woods penned the informative sleeve note. Genuine buried treasure here.
“…here the piece comes up sounding fresh, at least to my ears… I’m as pleased with the performance of the Schumann as I am with the Gál, and given the real quality of Gál’s symphony, I don’t mind that this makes about the tenth Schumann Fourth in my collection!”
A new review from critic Dan Morgan at MusicWeb. Read the whole thing here. A short sample follows The Second Symphony opens with a most unsettling string theme that blossoms into a mellifluous, pulsing tune whose mood and manner might well suggest pared-down Bruckner. Structurally it’s more tightly drawn – no dancing mountains here – […]
“It has always been known that the greatest pianoforte players were also the greatest composers; but how did they play? Not like the pianists of today who prance up and down the keyboard with passages in which they have exercised themselves—what does that mean? Nothing.” Ludwig van Beethoven in conversation 1814 A perusal of […]
I attended my first Scotia Festival as a student in 1993- Peter Lieberson was the composer-of-the-year, Pierre-Laurent Aimard was the pianist-in-the-house. How could I not want to keep coming back? Over the following years I got to meet and work with composers like Oliver Knussen and Joan Tower, instrumentalists like Marc-Andre Hamelin, and I got […]
It was gratifying to be given a chance to experience this challenging work in a reading of such heroic panache and fierce dedication: soloist, players and conductor valiantly negotiated the score’s fiendish polyrhythms and labyrinthine tempo associations, whilst building a convincing case for it to be regarded as one of Saxton’s finest utterances…this event was memorable for the quality of its performances and the boldness of its scheduling in equal measure
“The Orchestra of the Swan, a British chamber orchestra, plays with expressive understatement. The warm recording, at a concert, has all the qualities of a studio production. East-West fusions seem immune to the struggles of the classical music scene. This engaging album shows why.” American Record Guide