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Jens F. Laurson, February 2020

…Jaime Martín and the where-in-the-world-is-Gävle Symphony Orchestra do their best imitation of a brawny, gorgeously toned large philharmonic orchestra, and they have got that late romantic vernacular down pat. … The Hubert Parry Elegy for Brahms is an inspired filler. The rarely performed and absolutely gorgeous symphonic work (an ideal overture for concert programming) is a dear tribute to Brahms; less imitative and more luscious than expected. © 2020 Read complete review

Paul L. Althouse
American Record Guide, July 2019

In both pieces [Piano Quartet and Elegy for Brahms] I was pleased with the quality of the Gävle Symphony, a group I don’t think I’ve heard before. A fine recording, then, if the repertory meets your desires! © 2019 American Record Guide Read complete review on American Record Guide

Steven Kruger
Fanfare, May 2019

Elegy for Brahms is a lovely early piece, hinting at the finale of the recently deceased Brahms’s Fourth Symphony, and occasionally exhibiting Parry’s special hyper accelerando version of “stress” (as he would later call the first movement of his Fifth Symphony), but mostly just flowing along in serene velvet reminiscence. Played as prettily here…

This is a fine release. © 2019 Fanfare Read complete review

BBC Music Magazine, April 2019

Jaime Martin succeeds in bringing far greater textural clarity to the orchestration than many other recordings using a fuller complement of strings. © 2019 BBC Music Magazine

Andrew Farach-Colton
Gramophone, April 2019

Jaime Martín revels in these marvellously lurid sonorities, pushing the woodwinds to the fore, and generally eliciting incisive, articulate playing from the Gävle orchestra.

Parry’s Elegy for Brahms is an unexpected yet apt coupling, and I believe this to be the finest recorded interpretation thus far. … In the exquisite final pages (starting around 9'58"), the elegiac radiance of the orchestra’s performance feels positively transfigurative. © 2019 Gramophone Read complete review on Gramophone

John Quinn
MusicWeb International, March 2019

I think the musical rewards offer ample compensation. Here are two very different musical homages to Brahms, both of which are well worth hearing, and to find them coupled together is unique. The performances are first class: on this evidence the Gälve Symphony Orchestra is a very good ensemble and Jaime Martin conducts them very well. Ondine’s recording is ideal and Anthony Short’s notes are very useful. © 2019 MusicWeb International Read complete review

David Denton
David's Review Corner, March 2019

It was the distinguished conductor, Otto Klemperer, who suggested to Arnold Schoenberg an orchestration could open up the riches of the Brahms Piano Quartet.  That it was later to be turned into a ballet choreographed by George Balanchine was, no doubt, far from Klemperer’s thoughts when he gave the first performance in 1938. Whether Brahms would have countenanced such tampering is open to doubt, but the result is both ingenious and hugely enjoyable. Schoenberg did not change any aspect of its structure, and many see the arrangement as in sadness to the times past. Such thoughts are banished in the joyful finale Schoenberg created, including a percussion section using a xylophone. There is certainly no shortage of recordings, but this account, from Jamie Martin, has an inner clarity and luminosity that makes it one of the most desirable performances on disc. The coupling is a sadly neglected score from the English composer, Hubert Parry, who wrote the Elegy to mark the death of his musical idol. Curiously after its first premiere in 1918, it was almost sixty years before it was heard again. It makes an ideal companion piece as Parry was not averse to seeing Brahms through Twentieth century eyes. I can only find one previous recording, and I can commend this performance to you. The Gavle strings are radiant in their sheer beauty, and Ondine’s sound engineering is first class. © 2019 David’s Review Corner

Dean Frey
Music for Several Instruments, January 2019

Sir Adrian Boult made a lovely recording of this piece in December 1966. “Boult makes this Elegy shine in a golden aureole which celebrates Brahms rather than laments him,” according to Rob Barnett. While the final sheen of the London Philharmonic Orchestra and the gravitas of the great old conductor is missing from this performance, the Swedish players and their young Spanish conductor do a creditable job here. This is a highly recommended. © 2019 Music for Several Instruments Read complete review

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