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September 2012

“Superb playing and a debut programme that marks a welcome detour from the usual path.”
-Paul Fowles, Classical Guitar Magazine February 2013


8.572776 WALLACE Chopinesque
“This latest piano collection is perhaps the best of all… Rosemary Tuck dispatches all with admirable grace and aplomb… Wallace’s piano compositions are of real appeal and this generous and inexpensive collection is well worth investigating alongside Naxos’s previous issues of his Opera Fantasies and Celtic Fantasies.”
-Andrew Lamb, Gramophone December 2012


8.572661 SCHUMANN Piano Quintet
“This is a suitably vivacious performance, well balanced and deeply considered… the acumen Wang has displayed on Chandos bears plentiful fruit here and the contribution of the Fine Arts is suitably sweet and supportive… eminently worthwhile.”
-David Threasher, Gramophone December 2012


NBD0029 BERLIOZ Symphonie Fantastique
“There is stylish playing in both the Symphonie Fantastique and the Overture.”
-Christopher Dingle, BBC Music Magazine January 2013



NBD0031 PROKOFIEV Symphony No. 5
“This exceptional account of Prokofiev’s Fifth Symphony is partnered by a revelatory performance of The Year 1941, while the recording bursts out of the speakers.” 5*/5*
-Christopher Dingle, BBC Music Magazine January 2013


8.573043 VILLA-LOBOS Symphonies Nos. 6 & 7
“Karabtchevsky makes Villa-Lobos’s zigzagging, lopsided melodic line sound as boldly and brashly sculpted as Mount Rushmore, which, given that Villa-Lobos generated his melodic line by putting tracing paper over an image of the mountains around Rio de Janeiro, is exactly right… this does bode well for Naxos’s projected complete Villa-Lobos symphony cycle.”
-Philip Clark, Gramophone January 2013

“‘Superior music… not a tune to be whistled.’ Villa-Lobos’s description of a symphony’s ingredients certainly matches these two colourful works.”
-Daniel Jaffé, BBC Music Magazine – December, 2012


8.572886 BERLIOZ Symphonie Fantastique
‘The playing is remarkably refined, from an orchestra which has a strong tradition in Berlioz. String playing is cultured, catching the yearning in the first movement and an appropriate glassy quality in the finale.’
-Mark Pullinger, International Record Review September 2012

‘There’s plenty of atmosphere… in a notably vivid, spacious recording, from which an elegant Un Bal movement especially gains… excellent playing and recording still gives this disc a respectable place in a crowded market.’
-Michael Scott Rohan, BBC Music Magazine October 2012

‘Leonard Slatkin’s new post as music director of the orchestra National de Lyon yields up this polished performance of Berlioz’s hallucinatory masterpiece, preceded by a suitably dashing Le Corsaire overture as curtain raiser… one of [the disc’s] admirable qualities is the lucidity of playing that responds well to the particular palette of sonorities that Berlioz envisaged.’
-Geoffrey Norris, Gramophone October 2012


8.572207 MAHLER Symphony No. 1
‘Why do you turn to the Mahler First? If you look forward primarily to the snappy ending of the first movement of the adrenalin rush of the symphony’s jubilant final pages (played here with breathless exuberance), you may find that this new CD offers a rewarding experience….  Alsop (and the engineers) offer an exquisite sense of distance when the offstage trumpets enter in the first movement; the cellos and basses open the second movement with a deliciously rough-hewn tone; the more inward reflections in the finale are played with aching tenderness; glissandos are handled well throughout.’
-Peter J Rabinowitz, International Record Review September 2012

‘Marin Alsop’s performance opts for more folk-like immediacy… from whatever direction she arrives, Alsop brings a vigorous spring to the music’s step.’
-Ken Smith, Gramophone October 2012


8.572836 MENDELSSOHN Choral Music

‘On their showing here, St Albans Abbey Girls Choir can stand comparison with the best boys’ choirs, even if their sound is slightly different (if anything more human)…The gain here is that we hear Mendelssohn’s impeccable, expressive part writing, which the lay clerks clearly relish. Throughout, great care has obviously been taken over words and phrasing. The purity and steadiness of the girls’ voices are in themselves utterly delightful.’
-Roger Nichols, BBC Music Magazine October 2012

‘Hear My Prayer…[is] sung with a touching naivety by Laura Hicks… the Three Motets for female voices and organ, Op. 39, are performed with a pleasing freshness… best of all is the wonderful sonority of the eight-voice a cappella bookends, the Six Anthems and the setting of Psalm 43, Richte mich, Gott. And Winpenny’s organ solo is of a comparable splendour.’
-Richard Lawrence, Gramophone October 2012




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