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PRESS REVIEWS 2012



May 2012

8.572861-62 DELIUS A Mass Of Life
“The real revelation on record in 2012 came from the Bach Choir’s recording of Delius’s A Mass of Life: strong choral singing, penetrating direction from David Hill and a heroic turn in the lead role from Alan Opie.”
-David Threasher, Gramophone December 2012 – Critic’s Choice

 

8.572760 All Shall Be Well
‘This is a beautifully sung account with a fine narrative sense and scrupulous attention to the composer’s dynamic markings… Richard May’s cello playing in all three works is outstandingly fine and his contribution is one of the great strengths of the disc. The recording is full and rich, beautifully balanced and clear, with an attractive church acoustic… Choral enthusiasts to whom the programme appeals shouldn’t hesitate.’
-William Hedley, International Record Review September 2012

 

8.572872 GORECKI Concerto Cantata

‘The Concerto-Cantata (1992) received its premiere recording here, and the Warsaw Philharmonic does it full justice, playing equally convincingly and intensely in the severe concentrated slow sections and the all-out loud and fast episodes. Carol Wincenc plays the prominent flute part expressively…. Always riveting.’
-Barry Witherden, BBC Music Magazine September 2012

 

8.572163 HINDEMITH String Quartets Vol. 1

‘These inventive pieces are brought stunningly to life by the young Amar Quartet.’
-Julian Haylock, BBC Music Magazine September 2012

 

8.572472 DEBUSSY En blanc et noir • Messiaen: Visions de l’Amen
‘In short, collectors interested in this coupling of works can’t go wrong with Van Raat/Austbø.’
-Jed Distler, Gramophone, July 2012

 

8.572600 BRITTEN Songs and Proverbs of William Blake

‘As valuable as the late Fischer-Dieskau’s recording with the composer at the piano is, Williams presents just as cogent, focused and even more beautiful a reading of Britten’s Blake masterpiece; and Burnside’s pianism and musical instincts are second to none, revealing harmonies and connections not hinted at in previous recordings. The early Tit-for-Tat is a delight, as are the folk-song arrangements. Wonderful.’
-Guy Weatherall, Classical Music Magazine 16th June 2012

‘Roderick Williams brings a gentler, more intimate touch to what Fischer-Dieskau called their ‘enigmatic smile’: Blake’s ‘Tyger’ burns bright but with less fierce teeth, and there is more melancholy than menace in this performance’s view of the human condition. Every beautifully placed word is matched by Iain Burnside’s recreation of Britten’s pianistic subtext, glinting with many a revealing musical gloss.’
-Hilary Finch, BBC Music Magazine, July 2012

‘There may be a thrilling live performance tucked away in an archive but, as a recorded recital, Williams - and Burnside, who is similarly colourful but keeps an interpretative distance from pumping up the text - have created an outstanding achievement’ – GRAMOPHONE CHOICE
-Mike Ashman, Gramophone, June 2012

 

8.572783 BEETHOVEN Der glorreiche Augenblick
‘All strive in this performance, impelled by the conducting of Hilary Davan Wetton, who has a comprehensive grasp of the score… a very good performance.’
-Nalen Anthoni, Gramophone September 2012


‘With first-rate recorded sound, the disc is strongly recommended.’
-Misha Donat, BBC Music Magazine, July 2012


‘…thrill-a-minute stuff that draws you in and sweeps away any scruples you may have. The filler is the Choral Fantasia with Leon McCawley as piano soloist, done in a very grand manner, though also with great panache.’
-Tim Ashley, The Guardian, 7th June 2012

 

8.572708 SHOSTAKOVICH Symphonies Nos. 2 & 15

‘Vasily Petrenko and the Liverpool orchestra set themselves very high standards from the start of their Shostakovich cycle, and with every subsequent release it's been remarkable how well those standards have been maintained. Here, it's the account of Shostakovich's last symphony that is the more remarkable, for Petrenko manages to define every detail of this strange, raw-edged score with astonishing clarity while integrating every one of them into a truly symphonic whole.’
-Andrew Clements, The Guardian, 1st June 2012

‘another splendid release in an exceptional cycle.’
-Peter J. Rabinowitz, International Record Review, June 2012


‘Vasily Petrenko and the Liverpool orchestra set themselves very high standards from the start of their Shostakovich cycle, and with every subsequent release it's been remarkable how well those standards have been maintained. Here, it's the account of Shostakovich's last symphony that is the more remarkable, for Petrenko manages to define every detail of this strange, raw-edged score with astonishing clarity while integrating every one of them into a truly symphonic whole.’
-Andrew Clements, The Guardian, 1st June 2012


‘If anyone can make sense of these quirky works, it is Petrenko.  His performances, the latest in a superb Shostakovich cycle with the Royal Liverpool Philharmonic Orchestra, have all the bite, wit and finesse you could hop for’.
-Andrew Clark, Financial Times, April 28/29th 2012

‘The final symphony is taut, tense, dry and electrifyingly dramatic in Petrenko’s hands, while its apparent flippancies (the William Tell bits) have a dry rattle to their humour…the real revelation on this latest disc in the series concerns the stature of Shostakovich’s little-known Second Symphony, titled ‘To October’, a rarely performed neglected piece…Petrenko’s blistering, penetrating reading takes you way beyond the music’s apparent propagandist surface, scorchingly played by the RLPO, with a sensational finale and a thunderous choral shout form the RLPO Choir that will bring you out of your seat.’
-Michael Tumelty, Sunday Herald, April 22nd 2012


‘It’s hard to say which is the more striking as atmospherically performed here…As so often, Petrenko shows the deepest sensitivity in going straight to the heart of the matter.’
-David Nice, BBC Music Magazine, June 2012

 

8.572823 CASTELNUOVO-TEDESCO Piano Concertos Nos. 1 & 2
‘[On] this enterprising disc…. played by the hyperactive pianist and orchestra with such scintillating abandon, the composer’s charm and brio could, just possibly, bring a smile to even the most crusty and conservative listener… excellently recorded.’
-Bryce Morrison, Gramophone September 2012

‘The Malmo players are also clearly inspired by these unjustly neglected works: the performances fizz and sparkle under the direction of Andrew Mogrelia, and Marangoni’s dedication to the cause is just as apparent in his vivid playing as in his musicological endeavours. Excellent’
-Ivan Moody, International Record Review July/August 2012

‘His [Castelnuovo-Tedesco] easy-on-the-ear style, bathed in Italian sun, makes these two piano concertos from 1927 and 1937 pleasant to listen to…Alessandro Maragoni plays them both with élan, and the Malmö orchestra brings spirit to the Love’s Labour’s Lost dances.’
-Geoffrey Norris, The Daily Telegraph, 23rd June 2012


‘Tuneful, lushly scored, unpretentious and superbly crafted, Mario Castelnuovo-Tedesco’s two piano concertos deserve their stylish resuscitation by the young Italian pianist Alessandro Marangoni…played charmingly by the Malmö Symphony Orchestra under Andrew Mogrelia.’
-Richard Morrison, The Times, Saturday Review, May 5th 2012

 

8.572486 BARTÓK Concerto for Orchestra; Music for Strings, Percussion and Celesta

‘Two classical Bartók works are performed with pungency and bite here.  Marin Alsop transmits persuasive ideas about pacing, rhythmic emphasis and instrumental colouring, conjuring up also the spectral atmosphere that is so much a part of the Elegia in the Concerto for Orchestra.  The orchestra’s definition and intensity are equal assets in a vibrant interpretation of the Music for Strings, Percussion and Celesta.’
-Geoffrey Norris, The Daily Telegraph, Review, May 5th 2012


‘Two quintessential Bartók works in fine performances, and at an irresistible price.  The Concerto for Orchestra, in particular, is a piece that suits Marin Alsop down to the ground, and one that allows her to put her Baltimore players through their paces…Alsop responds to all these facets of the piece with both intelligence and vitality, producing a vivid performance.’
-Misha Donat, BBC Music Magazine, June 2012

 

 

 





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