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Göran Forsling
MusicWeb International, February 2020

…You who are reading this review are uncertain whether you like the music, should lend an ear to this disc to enjoy the absolutely superb playing of Matthew Gee. His accompanist Christopher Glynn is also a masterly pianist… Trombonists should of course order a copy at once. … This is a deeply fascinating disc that can satisfy in many different ways. © 2020 MusicWeb International Read complete review



Jed Distler
ClassicsToday.com, January 2020

The more lyrical, introspective songs provide ideal showcases for Gee’s smooth sonority and prodigious breath control; check out his honey-filled legato control in Der Lindenbaum, or those seamless and suave interval leaps in Rast. Pianist Christopher Glynn matches his partner’s singing tone with seamlessly dovetailed support. …The high level of music making always comes through. What could have been a gimmick or curio turns out to be a plausible and intelligently considered artistic endeavor. © 2020 ClassicsToday.com Read complete review



Lark Reviews, December 2019

This is a strange undertaking. I love Wintereise and the piano part here is given exactly as it would be with a singer. The Trombone part is essentially the singer’s line without the words. Though the trombone certainly has an impressive range of tone and technique it never quite has the subtlety of the human voice. Some songs come across well whereas others leave me wanting a fine tenor. © 2019 Lark Reviews



David Denton
David's Review Corner, December 2019

If you have been enjoying the award winning Naxos discs from the brass group, Septura, you will certainly want to place this arrangement on your shopping list.

I am not sure whether Franz Schubert would have wanted his disturbing cycle of songs arranged for trombone, for there is something in the human voice that expresses the innermost feelings of the performer, and equally the import of words strike home at the listener’s deepest fears of sorrow and despair. Impossible to make the trombone convey those feelings, though you will admire the gorgeously smooth playing of Matthew Gee, a member of Septura, and the person who has made the arrangement. Equally, this outstanding exponent of the instrument, has managed to inject something of the sadness Schubert intended. He then has the advantage of the pianist, Christopher Glynn, who spends much of his time working with singers, and he finds many fresh insights in the music that he can bring to the accompanying role. Tempos are well chosen and phrases shaped with a feeling of Schubert’s intentions. So if you are much into the field of brass instruments, and the trombone in particular, you will want this excellently recorded release. © 2019 David’s Review Corner





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