From the December-February issue of Classical Music Magazine, Christopher Morley picks the ESO’s performance of Donald Fraser’s orchestration of the Elgar Piano Quintet as his Premiere of the Year. Congrats to all the wonderful composers and ensembles mentioned in this overview of important first performances. The magazine is on sale now, subscription information is here. […]
Category Archives: News and Reviews
CD Review- Gramophone Magazine on Franck, Falla and Turina Concertante works for Piano with KW, Valerie Tryon and the Royal Philharmonic
Critic Bryce Morrison writes in the Gramophone: Throughout her long and distinguished, if insufficiently acknowledged career, Valerie Tryon has remained true to her own lights. Virtuoso teasers such as Balakirev’sIslamey and Ravel’s Gaspard de la nuit fell effortlessly within her grasp and here in Franck’s Symphonic Variations, sandwiched between two Spanish favourites of the repertoire, […]
“Four vibrant, attractive concertos…. by three of Britain’s brightest and best, and performed with dazzling virtuosity and musicianship by Simon Desbruslais and the Orchestra of the Swan…A hugely enjoyable disc, strongly recommended”
There’s a nice feature piece in the October 18th issue of The Tablet by journalist and critic Rick Jones. Click here to subscribe. You can read his reviews of selected Bobby and Hans CD’s on his blog Robert Schumann Symphony no. 1- KW/OOTS and Yannick Nezet Seugin/COE “Two Springs” Schumann Symphony no. 2 and […]
A new review from Music and Vision Daily for Philip Sawyers’ Cello Concerto, Second Symphony and Concertante for Violin, Piano and Strings on Nimbus Records. Click here to read the whole thing (subscription required). A short sample follows: “I spent many of my early critical days twiddling my thumbs while one composer after another would […]
A new review from Robert Matthew-Walker at Classical Source. Read the whole thing here A short sample follows with regard to Sawyers’s compositions: they speak naturally, seriously, but by no means doggedly; his music is emotionally direct and always involving the intelligent listener. This is the kind of music for which many […]
“Few, though, will have heard this nonet version of the Serenade, reconstructed by Alan Boustead in the 1980s, for strings, flute, two clarinets, bassoon and horn. In this live recording a slightly chubby ugly duckling in its orchestral format suddenly achieves lightness and clarity. Thanks to this aptly named Stratford-based ensemble, it has turned into […]
The textures are appropriately bass heavy, and the two cellos dominate, but every line comes through with exceptional clarity. This gives the piece a new profile, with the complex but now clear counterpoint driving the music and leading the ear through the harmonic web. There is atmosphere here too, and much warmth in the ensemble’s sound, but that is never at the expense of the individual lines..
“…bringing to Schumann’s comparably sparkling and life-enhancing ‘Spring’ Symphony such boundless vitality, scrupulous fidelity to the printed score, delicious wit and (above all) entrancing freshness of new discovery. This stylish and consistently invigorating coupling represents both an exemplary rescue act and genuine tonic to boot. Investigate without delay!”
“anyone… who generally welcomes song, dance, deepness of human feeling and clarity in their music will find much to entrance and enlighten here. It is certainly good to have a choice of recordings for Gál 2, to compare and contrast, but Woods’s version is the place to start…this thoughtfully considered account belongs in the Schumann 4 collection alongside Boult, Celibidache, Sawallisch (Dresden) and Szell”
The final result may be the most compelling reawakening of Schumann in the last decades – and simultaneously a long-overdue vindication of Hans Gál.
“This account is a joy from start to exuberant finish, perfectly paced and superbly played…Very strongly recommended”
“Kenneth Woods and the Orchestra of the Swan versus Yannick Nezet-Seguin and the Chamber Orchestra of Europe. Woods wins it. One needs express no surprise when the committed outfit with its own conductor beats the prestige youngsters under the rising star jet-setter. The Woods performance is tighter, rhythmically crisper, richer in contrasts, more characterful and always closer to the composer’s wishes.”