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Jerry Dubins
Fanfare, July 2016

The performance here by Raphael Terroni and the Bingham String Quartet is committed and compelling, with superb playing and swelling emotion that will sweep you up and carry you away on its tides. © 2016 Fanfare Read complete review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, March 2016

I find the Scott work the more interesting of the two, though it is great to be able to hear both works and fill in the blanks in the Anglo early modern scene. The performances are very much first rate and perhaps more noticeable in the Scott work because of its greater novelty of means.

Anyone interested in the English school of the 20th century will revel at the chance to hear good performances of these works. The music uplifts and gives you plenty to contemplate as well. Perhaps near essential for the Scott, very illuminating for the Bridge. Give it your ears. © 2016 Gapplegate Classical-Modern Music Review Read complete review

Philip R Buttall
MusicWeb International, February 2016

This is an important reissue—it was previously released on British Music Society (BMS). Both works have something original to say, and form valuable additions to the genre, especially from the standpoint of English composers and music. …the performance and recording are both first-rate. © 2016 MusicWeb International Read complete review

Review Corner, January 2016

It’s finely played and confident music, …It’s mood music, really, and would make a good film score for a rather tragic, artily-filmed love story. © 2016 Review Corner Read complete review

Midwest Tape, January 2016

Frank Bridge’s Piano Quintet, presented here by Cyril Scott, is a work of personal significance prompted by the absence of his fiancée. It is notable for its passionate, lyrical, and forceful language, and the technical demands that call for a virtuoso pianist. Debussy described Cyril Scott’s exotic harmonic language as ‘an intoxication for the ear.’ © 2015 Midwest Tape

David Denton
David's Review Corner, December 2015

Both born in the same year, 1879, the younger years of Frank Bridge and Cyril Scott were very different, though both found themselves in an alien musical world. While Bridge stayed at home savouring and assimilating Central European music somewhat second-hand, Scott went to study in Germany at the age of 12, eventually becoming part of the composing fraternity known as ‘The Frankfurt Group’. Seemingly destined to become one of its leading members, the First World War brought him back to England where he was virtually unknown. Emerging at the other end of the conflict, his late-Romantic style left him shunned by music publishers. In Bridge’s case his was an outdated musical language that gained him little response, though the score of the Piano Quintet was abundant in the most beautiful and outgoing music composed of that time. Its genesis, which was spread over eight years, has to be seen in a world that had, by 1904, generated few major works in that genre. In three movements that are sometimes erotic in their passionate outpourings, it is music that never fails to fall pleasingly on the ear. By contrast Cyril Scott’s Quintet passed through so many revisions that the original intention is unclear, though it seems that it was always intended as a piano quintet and not be confused with the string sextet that came later. Scott had a more hard-edged style than Bridge, the angular opening movement, with all musical guns blazing, is hugely impressive. The second movement, which acts as a scherzo, is a modern version of Mendelssohn, with the luxurious sonorities of the slow movement leading to a weighty finale. Naxos already have the Bridge in the catalogue, this account from Raphael Terroni and the Bingham String Quartet so full of refined tonal colours, that it is highly desirable, and doubly so when we have the rarely heard Scott as the coupling. The 1989 recording is absolutely gorgeous, and has already appeared on the British Music Society label. © 2015 David’s Review Corner

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