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Jerry Dubins
Fanfare, May 2016

…Schwabe plays with a beautifully smooth and sweet tone. In addition, his intonation and finger-to-bow coordination are spot-on. Rimmer is technically solid and secure and makes a strong partner for Schwabe. © 2016 Fanfare Read complete review



David W Moore
American Record Guide, March 2016

…technique and musicianship are excellent and I can recommend this program highly. © 2016 American Record Guide Read complete review on American Record Guide



Joanne Talbot
The Strad, December 2015

…energetic and teeming with bravura, the contrapuntal strands well delineated—with a clear recording to boot. © 2015 The Strad Read complete review



Fono Forum, December 2015

Musik:
Klang:

Schwabe carefully molds every single note. I wish the tones could stay a bit longer just to be able to marvel at them better. © 2015 Fono Forum



Cornelia Schönberg
kulturradio vom rbb, November 2015

Emotionality paired with intellect. © 2015 Kulturradio



Nordwestradio, November 2015

Even Brahms himself would like this CD. © 2015 Nordwestradio



Concerti, November 2015

He [Schwabe] counts among the best cellists of his generation. © 2015 Concerti



David Denton
David's Review Corner, October 2015

Winner of the prestigious 2009 Pierre Fournier Award, Gabriel Schwabe brings to the two Brahms sonatas performances that are warm, passionate and soulful. The long melodic lines in the opening movement of the first sonata are replete with vibrato and imbued with a sense of nostalgia that I find very satisfying. Even in the following Allegretto there is a hint of sadness, his feeling of lonely musing eventually giving way to his academic rectitude in the fugata of the finale. Brahms has entrusted the pianist with the forward thrust of each movement, Nicholas Rimmer, the British-born pianist being forthright and weighty in his contribution throughout. Completed in 1865, it was a further twenty years before Brahms began work on the Second sonata, its big and bold opening offering a very different musical language to the earlier score. Here the balance between instruments is even more slanted towards the piano, the cello often left to decorate this basic component, and I particularly enjoy Rimmer’s stormy opening to the third movement. When in the finale Brahms places the instruments into a more equal dialogue, the performance captures that aspect with considerable charm. The performers have separated the two sonatas with their transcriptions of six of the composer’s well-known songs. Their choice, and the mechanics that were employed to create the works, are detailed in the enclosed programme notes, the result best viewed as ‘encore’ pieces, Sommerabend being particularly engaging. Throughout Schwabe’s Italian cello, from around 1600, sings eloquently, and the recording, made in association with Radio Bremen is of outstanding quality. A desirable release. © 2015 David’s Review Corner





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