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Jack Sullivan
American Record Guide, May 2015

Sarah Nemtanu plays with poetry and a gorgeous tone, whether in virtuosic leaps or tender whispers, and she handles the treacherous cadenza with bold musicality. I would love to hear more of her work. © 2015 American Record Guide Read complete review on American Record Guide




Michaƫl Sebaoun
Classica, March 2015

Of great beauty, harsh or soft, colourful, dreamlike, these three concertos have all the grandeur of the natural elements. © 2015 Classica



Paul Corfield Godfrey
MusicWeb International, October 2014

…the quality of the recorded sound is excellent. The performances are such as to make any composer green with envy. It’s much much more than just surface “pastiche”. One looks forward with eager anticipation to future releases from this source. © 2014 MusicWeb International Read complete review



Gary Higginson
MusicWeb International, September 2014

The Violin Concerto No 1 exemplifies El-Khoury’s style perfectly. Formally it is unusual if not unique. Taken as a whole however there is a distinct French quality to the concerto but also a total individuality. Sarah Nemtanu clearly relishes the challenge and the orchestra are on the best of form.

The Horn Concerto subtitled The Dark Mountain falls into three movements with an exhilarating cadenza appearing at the end of the first. David Guerrier is foot perfect in the considerable demands made by the composer and captures every mood and drama required.

El-Khoury is a fine and careful and honest orchestrator. The sounds that he makes are exactly what he wants…This comes across most strongly in the Clarinet Concerto.

Patrick Messina has the ability to capture the long, legato lines in a poetic and highly sensitive manner. He also has the flexibility to make the faster sections and the two cadenzas tidy and clear. The orchestra is beautifully balanced and the Estonian conductor Olari Elts coaxes them into a wonderfully warm and sensitive performance.

This is mostly tonal music but quite distinctly of our time. Quite clearly Bechara El-Khoury continues to develop his personal musical voice regardless of fashion. His music would, I’m sure, generate a great deal of interest. © 2014 MusicWeb International Read complete review



Rob Barnett
MusicWeb International, August 2014

The present disc adds to the treasury of this composer’s works with three 25-minute three-movement concertos dating from the 2000s. They were taken down at concerts and in all three cases benefit from committed performances.

We hear some excitingly dynamic music structured around ’dramatic’ and ’energetic’ but reflective tendencies predominate. El-Khoury’s music looks inwards—he is not concerned with postcards.

The music of Bechara El-Khoury is not about harsh modernity. These concertos may well set you on a path towards the composer’s other…Naxos discs. © 2014 MusicWeb International Read complete review



David Denton
David's Review Corner, August 2014

Born into war-torn Lebanon in 1957, Bechara El-Khoury moved to Paris at the age of twenty-two to continue his musical studies, eventually taking French nationality. His works are usually scene painting, often reflecting the strife that is still resonating around the world, with subtitles given to all three concertos written in the 21st century. Using the section principals of the French National Orchestra at the beginning of this century, the performances reflect a desire to champion the composer’s name. © 2014 David’s Review Corner





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