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Geoffrey Norris
Gramophone, 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.’ © 2012 Gramophone




Michael Scott Rohan
BBC Music Magazine, October 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.’ © 2012 BBC Music Magazine



Robert Matthew-Walker
International Record Review, January 2012

RUBBRA, E.: String Quartets Nos. 1, 3 and 4 (Maggini Quartet) 8.572555
RUBBRA, E.: String Quartet No. 2 / Amoretti / Ave Maria Gratia Plena / Piano Trio in 1 Movement (C. Daniels, Roscoe, Maggini Quartet) 8.572286

Rubbra’s music, once absorbed will never leave you and the Maggini’s performance would have earned his undying admiration…A most strongly recommended and important pair of CDs… © 2012 International Record Review



Andrew Achenbach
Gramophone, June 2010

The first volume in the Maggini Quartet’s Rubbra cycle for Naxos launches in propitious fashion with a superbly integrated reading of the absorbing Second Quartet…undeniably a great success.



Peter Marchbank
International Record Review, January 2010

This recording of the Second Quartet is the first of a promised set for Naxos by the Maggini Quartet: on the evidence here it will be well worth buying…the performances throughout are of the highest standard and I recommend this disc wholeheartedly.



Malcolm Hayes
BBC Music Magazine, January 2010

The performances here again are excellent.



David Denton
David's Review Corner, November 2009

Though Edmund Rubbra’s mentors at London’s Royal Academy of Music had included Holst and Cyril Scott, his music did not fit conveniently into the style of British composition in the first half of the 20th century. Over the years he has been supported by many worthy champions, his present neglect in the concert halls both regrettable and unjustified. It has to be admitted that his thematic invention does not bury deep into memory at first hearing, but reaps rich rewards on further acquaintance. Completed in 1951, the Second Quartet, cast in four movements, is typical of a highly personal voice. Always originative and immaculately shaped, the meditative second movement is among the great beauties of English quartet music, while the finale has a dance-like feel to bring the work to a happy if somewhat unexpected close. The five Amoretti for voice and string quartet are too unremittingly sad and Rubbra should have found more contrast in content. The two Ave Maria Gratia Plena, for the same forces, opens with a solemn, O my deir Hert and moves to the Britten inspired O excellent Virgin Princess, the disc’s outstanding track. The First Piano Trio dates from 1950, its nicely open texture a welcome contrast to much that has gone before. It is in one movement divided into three distinct sections, the three meditative moments pointing to his recent conversion to Catholicism. For one who is always highly enthusiastic whenever I meet a Maggini release, I did find the first violin intonation worrying in the quartet, a shortcoming amply compensated by Martin Roscoe’s piano playing in the final work. Charles Daniels, better known in the Baroque era, is in the tenor soloist.






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10:58:40 AM, 28 December 2014
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