| “ | " The good spirits of these performers—their delight in the music— makes this enjoyable ing. " (American Record Guide) | ” |
| “ | Here, Don Quichotte and Sancho Panza encounter a disconsolate (but not inconsolable...) widow and a conceited composer, presenting the execution of 'his' sonata, with which he is unduly satisfied. All the protagonists of this highly coloured play are interpreted by Dominique Visse, who gives proof once again of his vocal mastery and exceptional presence. May the party begin… | ” |
| “ | The text entitled 'AL LETTORE' is a preface intended to provide the musician (the reader) with rules for the performance of the Toccatas or rather to point out the absence of such rules. Initially written in 1615, it was revised by Girolamo Frescobaldi in 1637... | ” |
| “ | Montserrat monastery had been a well-known place for the veneration of the Virgin in the 13th and 14th centuries, also being home of the Llibre Vermell, the “Red Book”, a famous collection of theological and liturgical texts as well as Marian chants in different languages as Latin, Occitan and Catalan... | ” |
| “ | For this recital, Piotr Anderszewski turns his attention to some of Schumann’s less frequently performed works. The Humoreske of 1839, far more serious-minded and substantial than its name might suggest, is built in five discrete sections. Mercurial in it's shifts of mood, it reflects the composer’s report to his wife Clara that, while working on the piece, he was “laughing and crying, all at once”... | ” |
| “ | This release sees Murray Perahia returning to Brahms after a significant series of excellent Bach recordings for Sony Classical. His 1991 Sony recording of the Sonata No.3 has an assortment of Intermezzos and Rhapsodies as a filler, but this new disc sees Perahia taking the later opus numbers head-on, working up to them chronologically via the Handel Variations and Rhapsodies Op.79 which, as Katrin Eich says in her booklet notes, each represent an ‘end point’ at certain stages in Brahms’ compositional output... | ” |
| “ | In 1871 Brahms prepared a version of his German Requiem for a performance in London--set for soloists and chorus, and four-hand piano. Of course, piano transcriptions of his orchestral works were common for this composer, but in this case the task was a bit more complex than usual: translating the highly independent and varied instrumental parts to an effective accompaniment for the substantial and preeminent choral writing. Only a handful of recordings have attempted to recreate this unusual version of the Requiem, and this surprising, superlative newcomer (distributed by Collegium) is the only one currently available... | ” |
| “ | This is quite simply marvellous. Une flûte invisible is an exquisitely planned collection of French music from the turn of the 20th century, bringing together, on the one hand, settings by Saint-Saëns, Pierné, Godard and Caplet of the same Victor Hugo poem, and, on the other, musical references to Pan, predominantly from Debussy... | ” |
| “ | If, like me, your knowledge of the music of Vierne is limited to his organ works and, perhaps, his fine Messe Solennelle, this CD may be something of a revelation. His six organ symphonies, composed between 1898 and 1934, are fairly well represented in the UK catalogue, as are some of his other organ works... | ” |
| “ | Caplet didn't have a large output of music, partly due to his early death from complications resulting from his exposure to poison gas during WWI. He had a broad and varied musical career and was a friend of Debussy, whose music made a strong impression on him. He liked creating chamber works with unusual instrumentation and was partial to the recently-perfected French pedal harp... | ” |
| “ | This new account of Vasks's Distant Light swells the number of recordings it has garnered to five, an amazing statistic for a work premiered as recently as August 1997. Then again, perhaps we shouldn't be too surprised: the Latvian's music speaks without artifice and offers an enticing blend of unspoilt beauty, compassionate heartache and superior compositional craft... | ” |
| “ | 'These lovely old tunes have a freshness and charm akin to the best light-hearted literature or illustration from the same period. A splendid successor to the previous volumes' (Gramophone) | ” |
| “ | The eighth volume of Eric Le Sage’s survey of Schumann’s solo and chamber compositions for piano presents some of Schumann’s most virtuosic and least personal piano music—the Allegro, op. 8, and the two sets of études after Paganini caprices, op. 3 and op. 10—juxtaposed with three seldom-heard and rather sizeable teaching pieces for children, the late Clavier Sonaten Für die Jugend... | ” |
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