here. We should just mention in particular

Transcription

Divine Art, Metier, Athene, Diversions,
Pilgrims Star
Portfolio of review extracts:
1 Divine Art main series
p. 2
2 Diversions midprice
p.52
3 Divine Art Multi-CD series
p.73
4 Historic Sound
p.87
5 Divine Art CD single/EP
p.92
6 Pilgrims Star
p.92
7 Athene
p.93
8A Metier main series
p.99
8B Metier Re-Appraisal Series
p.133
8C Metier Jazz
p.134
8D Metier World
p.135
9 Heritage Media
p.136
10 RP Music
p.136
11 Diversions Books
p.137
12 DVD – all labels
p.137
Last revised September 3, 2014
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REVIEW PORTFOLIO
Section 1: Divine Art 25000 series
25001
Cantatas from the Georgian Drawing Room:
"refreshingly unfamiliar and pleasant listening" - BBC Music Magazine
"excellently performed … first class recording ... I recommend it without reservation" - Bulletin of The
Federation of Recorded Music Societies
“Soprano Margarette Ashton has a small, pretty voice … she makes a good shot at characterising the
music and has a good grasp of ornamentation ... the performances have a homely air that is not
inappropriate” - Fanfare (USA)
25002
A Celebration of Cellos:
"If you like cellos, Cello Spice is for you... Buy it!" - Musical Opinion
"A wonderful disc" - BBC Radio North Network
“I played A Celebration of Cellos over and over and over” - Classical Jukebox (Ireland)
“this is a most attractive and unusual collection” – American Record Guide
25003
The Scottish Romantics *:
"A delightful disc... thoroughly rewarding" - Yorkshire Post
"Something of a revelation... to be highly recommended" - British Music Society
“an enterprising collection… excellently played by Murray McLachlan and well recorded “ - 
(“outstanding”) – Penguin Guide to Compact Discs
*This disc was chosen as one of the four musical highlights of 1996 by John Purser, author of Scotland's
Music who called this music “exquisite”*
25004
My Song is Love:
"Many of the tracks are quite stunning...the choir is splendidly directed...their achievements are
remarkable...when they let their hair down they surely are almost without parallel" - Sounds Alive
" A very fine recording...I urge you to buy it, for this kind of music-making is fresh, genuinely
communicative and above all sheer entertainment in the best sense" - Musical Opinion
“Young in fervour but mature in musicianship – dynamic control is especially impressive”  Choir
& Organ (UK)
25005
Bach Transcriptions and Australian Piano Music:
“Grand - I think magisterial is a good word”- Classical Jukebox (Ireland)
“Eloquent and skilful advocacy” - Gramophone
“Trevor Barnard is a fine advocate of this diverting and interesting music”- Northern Echo
“sound technique…affecting interpretations…excellently engineered” - Musical Opinion
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25006
Galuppi Piano Sonatas, volume 1:
“Peter Seivewright plays with style” - Northern Echo
“This is a fascinating disc… [Galuppi’s] music is very tuneful, unpretentious and untrammelled by 'early
music fussiness'. They are far more appealing than Scarlatti sonatas.
I have to commend the recording engineer who produces a close, intimate and crisp sound. Peter
Seivewright gives us a splendid example as to how to play cantabile which all students and fellow
pianists would do well to emulate. The 'sleeve booklet' gives an excellent introduction to the life and
times of this gifted composer and whets our appetite for further helpings. Performances 
Recording . Highly recommended -David Wright (Classical Music on the Web)
“A revelatory disc… Galuppi’s invention is rich and fresh, and Seivewright plays these wonderful pieces
with a sense of delight in discovery. Highly recommended.”
Performance - Recording - Robert Cockroft, Yorkshire Post
“movements are built often quite imaginatively and always resourcefully.. [Seivewright] is a sensitive
artist and obviously enjoys this repertoire, and he communicates this enjoyment to us. ()” –
Penguin Guide to CDs (2005) in relation to volumes 1-3
25007
"The music could not have a more sophisticated or dedicated advocate. In each sonata [Seivewright]
unwraps a musical gift of exquisite beauty" - Michael Carter (Fanfare)
"Absolutely immaculate execution matched by the clarity of the recorded sound…..it is difficult to imagine
this particular repertoire being presented to better advantage" - International Piano
"Seivewright is an enthusiastic and accomplished pianist… he plays with great conviction and flair…
pleasant listening from first note to last… a top class product… the recording is beyond reproach" ClassicalNet
artist and obviously enjoys this repertoire, and he communicates this enjoyment to us. () ” –
"Seivewright plays [the Sonatas] skilfully, and… they are pleasant to hear" - American Record Guide
" period charms and delights" - Northern Echo
"well recorded… well played" - Musical Opinion
25008
“Elegy” – British Guitar Music:
“Highly accomplished performances, one and all” - Gramophone
“On all counts this CD is highly recommended” - British Music Society
“A very enjoyable disc that will definitely be worth revisiting; the guitarist conveys his own personality, the
overall quality of the recording is good and on the whole the material presented is a breath of fresh air” Classical Music on the Web
“Elegy” and “Mel Wefus” are unforgettable” - Just Classical Guitar (Italy)
“Richards is a talented player and performs with remarkable concentration”.
Recording and Performance  - BBC Music Magazine
25009
Brahms, Beethoven & Wood Clarinet Trios:
" This is a richly rewarding programme, beautifully played and recorded… it's difficult to keep one's
finger off the 'replay' button… [it] held this listener spellbound" - Julian Haylock (IRR)
"The playing is particularly sensitive: I like the delicately handled dynamics of the Emily Segal's piano in
works like the Brahms, which can often be too intrusive. The skilful reading by the Bradburys is superb,
and in fact the team work effectively to convey nuances of mood… The complexities of the [Wood] score
are ably handled by the Trio, and Adrian's cello handles difficult high notes with skill. Where a held note
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on the piano is picked up by the clarinet, the crossover cannot be detected, the musicianship and
balance is that good." - Raymond Walker (MusicWeb)
"enterprising programming…[the Wood].is boldly set out..fearlessly elucidated. [Brahms] is a careful,
intimate performance… the players' meticulously thought-through performance of Beethoven's Op.11 trio
springs to life in the finale's theme and variations" - Hilary Finch (BBC Music Magazine)
" This (Brahms) is a performance without anguish, beautifully played and recorded… The performers
bring [the Beethoven] off in grand style." - Paul Shoemaker (MusicWeb)
"This is a beautifully reflective interpretation. (Brahms Trio)… Hugh Wood's finely crafted piece is a
nicely chosen foil. As for Beethoven's much neglected Clarinet Trio in B flat, op. 11, it is performed with
excellent appreciation of its open structure and graceful lyricism. The recording does justice to an
excellent team of artists". - Geoffrey Crankshaw (Musical Opinion)
“The playing is exemplary and it is recorded in a warm acoustic. The disc is well presented, with good
notes.” - Arthur Baker (Federation of Recorded Music Societies)
“Trio Gemelli consistently held my attention via their wide range of fervent expression and flawless
technique. The performances also radiate a sumptuous tonal quality and show meticulous attention to
phrasing, carefully shaped melodic lines, and well-shaded dynamics. The overall presentation is quite
exceptional in every aspect, including the sound proferred by Divine Art: it is honest, crystal clear, and
well blended.” - Michael Carter (Fanfare)
25010
The Isles of Greece:
“this is a very fine disc and well worth seeking out” -  - Rob Barnett (British Music Society)
“Bewitching” – Classic FM Magazine Modern Music RECORD OF THE MONTH March 2000
25011
Busoni Preludes & Bliss Piano Sonata :
“Barnard gives a striking account of the Piano Sonata, the capricious nature of the score captured with
playing of mercurial agility. The remainder of this generously filled disc contains a brilliant reading of
Busoni’s 24 Preludes, Barnard’s crisp articulation bringing an admirable clarity to the most complex
passages”
Recording  Performance  - Yorkshire Post
“An important disc... it is good to have [the Busoni ] available.. the Bliss is very welcome”
Recording  Performance  - David Wright(Classical Music on the Web)
“An outstanding CD” – Musical Opinion Winter 2000
“An unusual and welcome disc… [The Preludes are] inventive, well-varied pieces set within Busoni’s
generally rugged pianistic style; the Bliss sonata is ….. a tremendous piece, its three movements full of
dynamic argument, rhetoric and élan. Barnard’s playing is full-bodied, with generous pedal, a weighty
tone and a fine ability to control atmosphere and emotional temperature.”
Performance 
Sound  - Jessica Duchen (BBC Music Magazine) – May 2000
“The sympathetically elegant Trevor Barnard’s your man… this is indispensable, and you are best
advised to pick it up sooner… Sound is transparently immediate.” - Fanfare (USA) – July 2000
25012
Celestial Harmonies:
“Clear sound, committed performances” – Gramophone
“very beautiful: refined in line and texture, haunting yet spare and superbly captured by [McLachlan] –
Recording  Performance  - Yorkshire Post
“The individuality and allure of Camilleri’s brief set of variations [on the Paganini Caprice] serve as an
accessible introduction to the unique music on the balance of the disc” - Fanfare (USA)
25013
Stevenson’s Passacaglia on DSCH:
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“I am a very lucky composer to have this splendid recording of a truly superlative performance.
Congratulations to all concerned… Must add that Murray writes the best, most informed , intelligent and
sensitive programme notes.” - Ronald Stevenson
“[Stevenson displays]… a revelatory understanding of the keyboard… both an astonishing compositional
achievement and a deeply impressive emotional experience. The CD is a considerable achievement in
musical and sound-recording terms: a wonderful 75th birthday present for the composer. Strongly
recommended.” - Robert Matthew-Walker (Musical Opinion)
“The performance is thrilling. His approach to the work somehow manages to combine an improvisatory
freshness and a sense of the inevitability of the form. McLachlan … plays it here as if mastering its
praeternatural difficulties were as natural as running your fingers through your hair. Strongly
recommended” – Martin Anderson (International Piano)
“Murray McLachlan projects the work’s opening Sonata with a dark energy; … the start of a journey with
real sweep and grandeur. McLachlan is stunning in the Fugue… he visits worlds of fantasy and
virtuosity his two competitors do not often approach. In McLachlan’s hands, we’re always made to
appreciate the Passacaglia as a meaningful, pertinent piece of contemporary music. Pianistically the
final fugue section is absolutely stupendous. His performance is filled with excitement, feeling and belief,
and superbly executed.” - Paul Ingram (DSCH Journal)
“Murray McLachlan’s… terrific at sustaining cumulative momentum and keeping textures fresh and
diversified during the work’s lengthy opening and closing sections. … there’s much to admire in
McLachlan’s colouristic instincts and seasoned musicality” - Jed Distler (BBC Music Magazine)
“Here is a committed performance… It could be argued that no pianist has grown up with this work in
closer proximity than McLachlan… an exciting pianist. The work is… a living organism… an
experience.” - Colin Scott-Sutherland (Musicweb)
“Murray McLachlan… turns in a noble, committed, sometimes harrowing performance”- Sullivan
(American Record Guide)
“something of a tour de force… Murray McLachlan is an impressive exponent of this score and he is very
well recorded” -  - Penguin Guide to Compact Discs (“Key Recording”)
“Stevenson's masterpiece... without question a major addition to the quite superb pianism, allied to a
structural command that knows no peers. The Passacaglia is an out-and-out masterpiece, which will be
played long after much music of the last 50 years is justifiably forgotten” - Robert Matthew-Walker
(Fuga)- review of live performance August 2008
25014
Brahms & Hindemith Clarinet Sonatas:
“Inspired programme planning….musicianly… a rewarding musical experiencePerformance () Sound  Colin Clarke (Classical Music on the Web)
“Bradbury plays in a beautifully natural way without resorting to the forced rubato adopted by some
artists in a contrived attempt to be different, and he allows the music to speak for itself. …..these are
excellent readings and as impressive as any I have heard.”
Performance  Sound  - Tim Payne ( BBC Music Magazine)
“Bradbury’s technique is faultless, as is Roberts’s” – Fanfare (USA)-Jan/Feb 2001
“Mature and memorable performances” - Yorkshire Post
25015
“There are certainly some lovely moments here, and Galuppi is no stranger to a rollicking melody or a
tender cantabile passage. [Seivewright’s] extended essays in the booklets of the three available volumes
of his ongoing traversal of the composer’s piano sonatas do a great deal to advance Galuppi’s standing
in the musical world. Perhaps Mr. Seivewright will compile a highlights disc when the project is complete.
Let us hope so…”- Kevin Sutton (MusicWeb)
“The music is attractive, elegantly crafted and often melodically memorable…delightful and little known
pieces” – Richard Wigmore (BBC Music Magazine)
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“These sonatas are hard to describe because in so many ways they are unlike any other keyboard music
of the period They are full of charm, and particularly in the slow movements, Seivewright plays them as if
they were arias. Attractive music amiably performed.” Performance  Sound  - Patsy
Morita (Allmusic)
artist and obviously enjoys this repertoire, and he communicates this enjoyment to us. ()” –
25016
Copland Piano Music:
“My recording of the month, without a shadow of a doubt. For anyone who has yet to experience the
wonders of Copland’s music for piano, here is the place to start.”- Colin Clarke (MusicWeb)
“Raymond Clarke now provides what is the most satisfying single disc of Copland’s piano music…
altogether this collection leads the field. The recording is outstandingly vivid and realistic, with a full
sonority in the bass. A most satisfying and rewarding collection”.
 (“outstanding”) – Penguin
Guide to Compact Discs
“performances of considerable sympathy and insight… with a flawless technique… The recordings are
particularly fine and the performances here do it full justice, piano tone being impressive. Raymond
Clarke contributes his own scholarly and informative booklet notes. An important CD enthusiastically
recommended.”- Robert Matthew-Walker (Musical Opinion)
“rock-solid technique, a strong sense of purposeful movement and outstanding clarity… enthusiastically
recommended” – Anthony Burton (BBC Music Magazine)
“Clarke plays with immense authority…a performance to which I’ve returned again and again. Clarke
turns the work into musical gold…a rare gift... a major achievement”-Neville Cohn (Oz Arts Review)
“Raymond Clarke moves past the notes themselves and creates an imposing, even monumental,
effect… .impressive technical mastery and structural insight.” – Raymond Tuttle (I.R.R)
“Clarke’s impressive technique is placed entirely at the service of the music, bringing lucidity even when
the page is black with notes, never diluting the percussive qualities of the Piano Variations, or smoothing
the jagged quality of the Sonata.” - David Denton (Yorkshire Post)
“[an] impressive CD… The performances throughout are exemplary, each note being played with great
precision and delicacy” - John Pitt (New Classics)
"Clarke...plays with intensity and conviction... the listener hangs on to almost every note - remarkable
tension" - Arthur Baker (FRMS Bulletin)
“We need a definitive recording of the Piano Fantasy and Clarke is exactly the kind of performer to
deliver it... As usual all Clarke's interpretations are scrupulous ... the slow music in the last movement
achieves a magical atmosphere ... In the Fantasy, as elsewhere, Clarke is in complete command of the
passagework in this utterly uncompromising half-hour epic ... First-class playing”- Peter Dickinson
(Gramophone)
25017
Blue Wrens (Australian Piano Music):
“Superbly interpreted by Trevor Barnard, who plays with feeling, sensitivity and enormous conviction… a
splendid recording” – The Studio (Australia)
" Trevor Barnard is an ideal performer in this collection …a very enjoyable cross-selection of accessible
and attractive works that repay repeated hearings. Very entertaining and well worth investigating." Hubert Culot (MusicWeb)
Trevor Barnard presents this music with power and conviction." - Peter Burwasser (Fanfare USA)
"Trevor Barnard plays these often difficult pieces very well, achieving a wonderful full sound. The
recording is exemplary. The cover design and full notes (many by the composers) are excellent. The disc
is an interesting one and indicates the wealth of composing talent in the Antipodes." - Arthur Baker
(Musicweb/Federation of Recorded Music Societies)
6
“[Barnard’s] performance of the works on this CD is excellent and he has captured the style and mood of
the works well. For those collecting Australian works this is another 'must'." - Glenn Clark (Piano
Teacher Magazine)
7
25018
Shostakovich & Panufnik Piano Music:
"This is an important CD, which is strongly recommended on every level. …….played with notable
understanding and virtuosity. ….. Raymond Clarke is much to be commended for his promotion of such
beautifully written compositions…… A terrific issue, very well recorded." - Robert Matthew-Walker
(Musical Opinion)
"Raymond Clarke plays this music with great affection and understanding" - Fanfare (USA)
"… a fascinating program intelligently executed. Raymond Clarke… plays all these coolly passionate
works superbly and contributes expansive notes. The recording, made at the University of Newcastle-onTyne, has plenty of depth and color. Highly recommended." - American Record Guide
" Pianist Raymond Clarke has long been associated with both of these composers, and ….. is
particularly good at creating a sense of atmosphere in the delicate passages of these works. The
Pentasonata is an impressive achievement". - Erik Levi (BBC Music Magazine)
"This release is another magnificent offering from this fine performer". - Hubert Culot (Musicweb)
"Committed and perceptive playing from Clarke, who for more than a decade now has been among the
most stimulating and wide-ranging pianists of his generation, and a recorded balance which does justice
to the crisp, clear outlines of the music. More discs from this source are keenly awaited." - Richard
Whitehouse (Gramophone)
“Clarke is especially good at conveying the off-the-wall perversity of the Ten Aphorisms, and his
absolute technical control is vital in the exposed textures of the Panufnik. His masterly booklet essay
reveals that he is also a first-rate writer on music.”- Martin Anderson (International Piano)
"Fine, enterprising and intelligently planned…rigorous, strong and thoughtful….Clarke fully exploits all
the sustained power his Steinway can give him…a very welcome release" - Paul Ingram (DSCH Journal)
25019
Woodworks:
"This is a marvellous showcase disc for the formidable talents of Tamara Gries…Cronin's Suite for
Recorder and Strings is a minor masterpiece…This is a wonderful disc for the recorder aficionado but it
also ought to draw a much wider appeal… all the "new" music here and much of the old is well worth
your attention… an interesting, stimulating and ultimately moving selection of works"  - Neil
Horner (MusicWeb)
"A lovely and unpretentious CD… I … will be playing this one many times.. and I am sure you will too" Frank Behrens (Amazon.com)
“Its virtues far outweigh its shortcomings. Their performances of the contemporary pieces present the
high point of this release. Each [composer] has his own strongly defined profile, and each receives fine
advocacy here.” – William Zagorski (Fanfare)
25020
Tchaikovsky for Four Hands:
"A revelatory version of a Tchaikovsky symphony…a major discovery..a cracking
performance…gloriously played…mind-blowing" - Michael Tumelty (Glasgow Herald)
"There are several good reasons to buy this fascinating programme…The impeccable precision, tonal
allure and stylish panache of Goldstone and Clemmow's playing is sheer pleasure, and they are
handsomely recorded" - BBC Music Magazine
"excellently performed…lovers of the piano duet medium need not hesitate" - Gramophone
" Superlative playing..of Goldstone and Clemmow…highly recommended”  - John Phillips
(Musicweb)
"Fabulous playing and a definite "grabbit" - Showcase Magazine (USA)
"a tour-de-force…Goldstone & Clemmow bring a subtle intimacy to the music that is really
wonderful…pristine presentation, copious notes and stunning recording…. A superb disc" - ClassicalNet
8
“interesting and satisfying to listen to…[the] playing is a fine example of the art and the disc can be
recommended strongly” – Arthur Baker (Federation of Recorded Music Societies)
"Highly enjoyable…well worth hearing"  - David Denton (Yorkshire Post)
“Goldstone and Clemmow bring a satisfying tensile energy and spring to their reading show themselves
keenly attuned to the ebb and flow of music, and to each other. The recording is natural and reverberant,
with no distortion and full bloom around the keyboards. This disc is great fun; seek it out! - Christopher
Williams (Fanfare)
“Marvellous recording featuring familiar music in unfamiliar form ... astonishing performance of
Tchaikovsky’ Symphony No. 4... to say that the first movement contains some barnstorming pianism is
an understatement. Wonderful pianism ... great transcriptions ... beautiful natural piano sound.” – Alan
Watkins (Narkive)
“The heart of this disc is the magnificent Symphony No. 4 and the illustrious Romeo and Juliet overture
all given a heart-felt, blistering and noble performance. Goldstone and Clemmow prove that the piano is
not inferior to the orchestra and that it can even accentuate the separate lines of music to ensure a lucid
aural experience. Highly recommended.” – Amazon.com
25021
Decoding Skin – Contemporary Piano Music:
“I believe it can bring surprising rewards. Every piece is superbly played with total belief by this most
gifted pianist and I trust this CD will get the attention it clearly merits.”- Robert Matthew-Walker (Musical
Opinion)
“A fine début, with the many repertoire challenges within eloquently and skilfully met... Philip Howard
plays to his strengths on this auspicious recorded début… this striking...programme augurs well for
Philip Howard’s future” – Richard Whitehouse (Gramophone)
“This is an impressive, challenging debut... Howard’s fingerprints as a performer are clearly evident
throughout: a ferocious technical ability filtered through a bold and thoughtful interpretative intellect. Most
refreshingly, he seems (perhaps by dint of being a composer himself) prepared to adapt his whole
approach to the demands of some very different aesthetics, lapsing neither into received ideals of
pianistic beauty nor into crudely iconoclastic dogmatism… [A] brave and impressive display of musical
intelligence and integrity”. – James Weeks (Tempo)
“Many rewards… Howard…is pretty fearless… has all the qualities of intense concentration to bring the
work off – and listen to the stunning way he projects the music [of “Palais de Mari] around the seven
minute mark as being as delicate as porcelain…Highly recommended.”-Colin Clarke (MusicWeb)
“Wonderful stuff, ideal for this record label which is trying to forge its own unique image… As for Philip
Howard, I am full of admiration. Technically he is totally assured in this challenging music. On top of that
he has an innate ability to discover and use piano colour” – Gary Higginson (MusicWeb)
25022
Piano Music for Children:
“I don’t know whose idea this CD was, but it was a brilliant one. It goes without saying that [Clarke] is
technically well in command of this music, and his performances are poised, imaginative and strongly
characterised. The CD is accompanied by a learned and informative booklet of notes by Raymond
Clarke himself, and the piano is the excellent Steinway model D at Newcastle University. More please!”
– Gwyn Parry-Jones (MusicWeb)
“… pianist Raymond Clarke makes a good case for each of [the pieces]… piano teachers will certainly
want a copy of this program... The rest of us can simply enjoy the music” – Frank Behrens (Brattleboro
Reformer)
“… a demonstration that composers of stature can write with simplicity without compromising their
style… [Raymond Clarke’s] very good at setting the mood quickly for each piece…”  - Martin
Cotton (BBC Music Magazine)
“This is a collection of very fine music…highly enjoyable… a recording to savour” – Stephen Priest (The
Pianist)
“Raymond Clarke’s commitment to 20th century music is in no doubt. Technically and emotionally music
for children can lack depth, though much of this disc proves this is not invariably so.. but they are
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enjoyable enough to warrant a return visit, especially in Clarke’s hands. Clarke’s notes are a real bonus.
The range of styles on display ensures that the disc never outstays its welcome” – John Riley (DSCH
Journal)
25023
Heaven’s Happiness:
“On the evidence of this disc James Cook writes sincere, accomplished and assured music. He is
obviously inspired by his chosen texts… Cook ably builds on and renews the traditions of the music that
has been written for the English Church in the last few centuries and that in itself is a cause for
celebration. It is hard to imagine that his music could have been better served than by the expert singers
who constitute Voces Oxonienses. They are directed by Michael McCarthy in flawless performances.
Tuning, ensemble and diction are all excellent and the engineers have recorded them clearly. The
documentation is good and includes full English texts. I had not encountered the music of James Cook
before but I hope to hear more of it in the future. I hope that this enterprising release will bring his music
to a wider audience and will encourage other choirs to take it up – though they’ll have to be good!
Strongly recommended” - John Quinn (MusicWeb)
“The composer’s unique voice is quite discernible from one piece to the next. His harmonic schemes are
varied and striking, and he adroitly explores a wide array of forms and techniques… he writes with
considerable canonic and contrapuntal skill. He achieves real beauty and profundity, while displaying a
sure knack for musical illumination of texts” – American Record Guide
“Voces Oxonienses sing with rich tone and expressively, with good diction and excellent breath control.
An interesting disc, indeed, and definitely worth hearing.” – Church Music Quarterly
25024
Explorations – modern British piano music:
“This is a very worthwhile disc in each of the four categories that make an album desirable: choice of
repertoire, performance, technical quality of recording and documentary presentation.. .admirable
performances… this CD is strongly recommended” – Robert Matthew-Walker (Musical Opinion)
“immensely impressive and commanding… altogether a stimulating collection, played with commitment
and understanding by these two fine artists, and very well recorded”  Ivan March (Penguin Guide
to Compact Discs)
“Their playing of the major duo and duet repertoire always tingles with excitement and rewards with
perceptive musicianship. And this disc is no exception. Whether at one or two pianos, what we hear is
both virtuoso and illuminating… If you haven’t already guessed it, I was bowled over by this disc and
urge you to have a similar experience by buying it” – Graham Saunders (MusicWeb).
“a stimulating collection, splendidly presented by a first-class piano duo… Excellent recording
throughout.” – Ivan March (Gramophone)
“Outstanding performances from Goldstone and Clemmow: nothing catches out rhythmic imprecision
like two pianos and they are right on the button every time; excellent recorded sound, too.” – Martin
Anderson (International Piano)
“Another of the Divine Art’s intriguing delves into the repertoire…The excellence of the recording serves
only to enhance this production. There are significant things here – not always easily prised open, it’s
true, but all the more valuable for that very reason.” - Jonathan Woolf (MusicWeb)
“sure to be of interest… the duo’s playing is beyond reproach” – Roger Thomas (International Record
Review)
“The sheer energy of the [Leighton] music is finely mirrored in Anthony Goldstone’s and Caroline
Clemmow’s thrillingly dynamic performance… It is good to have these works available on disc and
Anthony Goldstone and Caroline Clemmow give them all sterling advocacy.” – Christopher Thomas
(MusicWeb)
“An unusual disc, beautifully played, good recording and exceptionally good notes.” – Arthur Baker
(FRMS Bulletin)
25025
The Obbligato Clarinet:
“…one of the more beautiful CDs I have heard recently… most of the names are new to me also, but that
is what makes this CD all the more valuable. The soloist[s] are quite personable and give the requisite
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dramatic approach to the texts. If there ever was a gift for the collector who “has everything” , this is it.” Frank Behrens (Eagle Times USA)
“a rare opportunity… Eirian James’ style is well suited to this repertoire… she is in her element…
Bradbury demonstrates that he has lost none of that technical efficiency and flamboyance… he achieves
nuances of expression which bring a smile to the lips. The recording is very good… highly
recommended” – Paul Reid (The Schubertian)
“Everywhere in the programme [Bradbury’s] easy technique and natural musicianship are sympathetic to
the music on hand….an attractive programme very well presented” - Christopher Howell (MusicWeb)
“These performances are excellent… this CD can be wholeheartedly endorsed” – Spohr Society
”The performances are very fine… Eirian James is a sensitive mezzo-soprano… Robert Murray … is
similarly communicative and mellow… the beauty and personality of [Bradbury’s] tone merit admiration”
– Raymond Tuttle (International Record Review)
“Eirian James… deploys her gleaming high mezzo gracefully and nimbly. Colin Bradbury is a liquidtoned clarinettist, phrasing alluringly and relishing his bouts of elegant virtuosity…innocent undemanding
pleasures…” Performance , Sound  – Richard Wigmore (BBC Music Magazine)
25026
Schubert: The Unauthorised Piano Duos:
“A bold move, justified by the performances…Goldstone & Clemmow play with unflagging brio and
style…artistry and commitment. An invaluable disc” – Bryce Morrison (Gramophone)
“This is a fascinating disc. You won’t find such a collection anywhere else… historically informative and
a must for fans of 18th and 19th century novelties.” – Chase Morrison (MusicWeb)
“a mind-blowing arrangement, for piano duet, of Schubert's Trout Quintet… the arrangement is not just
incredibly faithful to the text, as it were, of The Trout, but encapsulates the spirit of the entire piece.
Glorious performance, splendid recording … fascinating collection of arrangements”.
Rating:  - Michael Tumelty (Glasgow Herald)
“admirable playing… characterised by textural clarity, beautiful voicing and ensemble (and well projected
in an excellently balanced recording… a finely conceived disc” – Crawford Howie (The Schubertian)
“Most gorgeous and highly effective piano arrangements. These performances are a shining example of
a superlative piano duo reaching great heights of musicality and spectacular effect. In the hands of this
competent duo, the chamber works become impressive pianistic simulacrums of the highest quality.
Highly recommended.”  -“Hexameron” (Amazon.com)
“…[a] fascinating disc, beautifully recorded and thoroughly recommended. The performance is a joy to
hear and I am certain that Schubert would have approved…. another joint triumph for the Divine Art’s
unique piano duo.” - Denby Richards (Musical Opinion)
“[the string quintet movement] has a certain coolness which I found makes you listen in a different way
without the screwing up of tension and intensity with strings vibrato. Goldstone and his wife partner (they
have recorded all the legitimate Schubert duos) love it, and so do I. The main attraction of that
fascinating collection of "Unauthorised Piano Duos" of Schubert was a version of the Trout Quintet
without strings at all which really makes you sit up and listen, and is my strongly recommended
preference [over the new Hyperion Trout” - Peter Grahame Woolf (Musical Pointers)
"Goldstone and Clemmow threaten to win over even the most ardent purist. The performances are crisp,
the ensemble is sharp and the sound is clear and lively. A marvellous guilty pleasure" - T.
Elizabeth Cason (Nineteenth Century Music Review)
“….a lively appreciation of Schubert at work…The version of the Trout…makes changes which without
being too interventionist, suggest a composer’s imagination at work. Goldstone’s idiomatic realization of
the Polonaise…a conjectural reconstruction, and a convincing one” – John Warrack (International
Record Review)
“Czerny did a thoroughly professional job [on the Trout] – Poldini’s entertaining, over the top study …
and Prokofiev’s piquant, glittering take on a sequence of waltzes… well worth hearing. Goldstone himself
offers a skilful, sensitively harmonised realisation [of the D618a sketch] Performances are always
enjoyable.” – Richard Wigmore (BBC Music Magazine)
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25027
James Cook: The Way to Heaven:
“James Cook’s musical style… is as strikingly personal and individual as, say, the vocal writing of Britten
or Tavener. Cook’s music is inspired to respond to every mood. Voces Oxonienses are on excellent
form.”  (outstanding) – Ivan March (Penguin Guide to Compact Discs)
“James Cook works within traditional tonal boundaries. Sincere and moving, unglamorous settings
written within the accommodating embrace of the Cathedral tradition… sung with total professional
commitment” – Rob Barnett (MusicWeb)
“much to admire and enjoy in this collection of pieces and in the exemplary performances that they
receive… Anyone with an interest in [the English choral] tradition can safely and confidently explore this
rewarding CD”- John Quinn (MusicWeb)
“Voces Oxonienses make a good case for the music” – Francis Knights (International Record Review)
25028
Dvorak & Mendelssohn Symphonies:
“Both symphonies are given the most satisfactory performances which are full of life, verve and great
sensitivity… the sound and presentation is good... You should acquire this disc even if you only play it
once. It is a real joy. Recommended. One does not have to say more. The disc recommends itself.” –
MusicWeb
“Fine, immaculately balanced and paced performances” – Malcolm Hayes (Classic FM)
“So good are these performances that I quite forgot I was listening to totally familiar works in an unusual
setting. In the case of the Dvorák, I am sure there is evidence here that the composer was, far from
being the poor writer for piano of popular myth, a true master of his medium, so well does the work
develop…this New World will take a great deal of beating. It is simply that good.”- Dvorak Society
Newsletter
“The performance is a colossal display of pianism and musicality… they are brilliant and electricallycharged piano performances of two great symphonic works. Try them.”  - “Hexameron”
(Amazon.com)
“The program notes give fine background information about both works in this piano format. For myself,
having heard both of these works in the more familiar orchestral versions very often indeed, I find this
recording a breath of fresh air. It is like hearing them both for the first time. Grab a copy”- Frank Behrens
(Eagle Times – USA)
“Goldstone and Clemmow are alive to the spirit of the music, showing admirable poise, and easy
momentum and a wide range of colour in the slow movement and sensibly opting for a steadyish tempo
in the Scherzo, with its hazardous plethora of rapidly repeated pitches. The transition to the finale is
beautifully managed, and that movement builds to an impressive climax. This is highly rewarding duet
playing. I like, too, the recording, which offers a welcome feeling of space between listener and
instrument without seeming distanced or vague.” – Stephen Pettitt (International Record Review)
“Marvellous recording ... wonderful performances ... great transcriptions ... beautiful natural piano
sound.” – Alan Watkins (Narkive)
"Of all the many recordings in my collection, this has for me to be one of the finest.” – JEB, Rotherham
25029
Beethoven Piano Music:
“Anthony Goldstone’s playing throughout is splendid; technically most expert and always unfailingly
musical… superb… compelling… this exceptionally well-filled CD is very strongly recommended” –
Robert Matthew-Walker (Musical Opinion)
“a name to be reckoned with arrives at a new stature… leonine strength and pristine articulation combine
to present intellectually and physically formidable performances”  – Michael Tumelty
(Glasgow Herald)
“Goldstone’s playing enables you to feel both Beethoven’s suffering and pain and his joy. The colour in
this performance is admirable… an admirable choice of tempi and a brave choice. Goldstone’s chords
are so even and you hear all the notes. My, how Goldstone brings out the passion… this pianist has
really caught it… Goldstone triumphs with his profound understanding of the music… fearsomely difficult
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to play but Goldstone is man enough for it.. the final presto section [of the Appassionata] is music in
overdrive” – David Wright (Musicweb)
“Goldstone is not only a tremendous virtuoso, he is an amazingly insightful and astoundingly soulful
player. Goldstone can storm the heavens in finales, but he can also see to the heart of Beethoven's
music and express it in rapturous tones” – James Leonard (All Music Guide)
“Goldstone gives an accomplished account of the overture…much to enjoy in his performance” – Misha
Donat (BBC Music Magazine)
“undeniably the product of intimate knowledge and long experience of the score…there is something of
the impulsive, a young man’s music-making here, with extremes of tempo close in spirit to Beethoven’s
intentions. I do prefer Goldstone’s clear-sighted views of these works [to other recent version]” – Guy
Rickards (International Piano)
“To hear [the alternative version of the Pathétique] is utterly fascinating… appropriately cogent
performance… worth having” – Stephen Pruslin (International Record Review)
“an appealing assortment of Beethoven… an excellent recital” – Kevin Bryan (UK regional press)
25030
Bach 4 Keyboard Concertos
“Accomplished soloist … it is thoroughly refreshing to hear the ‘orchestral’ lines taken… one player to a
part. So the textures have a delightful and appropriate lightness.” – Robert Anderson (Music & Vision)
“Seivewright’s playing is sensitively shaped, pearly in execution, and tries its best to make his modern
piano sound like a fortepiano. The longer this CD went on, the more I liked it. The string sound is satiny
and sleek… the Scottish Baroque Soloists give us just about the most beautiful straight-tone string
sound I’ve ever heard.” – Lynn René Bayley (Fanfare)
“The pianist’s readings are clear, precise and exhibit an admirably cogent structural overview. The
Scottish Baroque Soloists is a small chamber group… all the players are sensitive and fully committed to
Seivewright’s vision. If you are a fan of these works, you’ll want this disc for your collection” – Michael
Cameron (Fanfare)
“[Seivewright] plays these with the full resources of the piano and of human emotion. Emotionless
baroque performances are not for him – and not for me! These sound very much the way Mozart piano
concertos sounded in the great days of recordings. There are lots of nuances and subtleties, plenty of
poetry and expression. Nor do the Scottish Baroque Soloists play on period instruments in strict period
style; they are far better than that. Very good sound – not too close-up.” – Donald Vroon (American
Record Guide)
“This fine collaboration between Peter Seivewright and the Scottish Baroque Soloists sheds new light on
what were arguably the first works penned for solo keyboard instrument and orchestra ... they provide a
wealth of inventive and frequently very melodic listening.” – Kevin Bryan (UK Regional Press)
“[Seivewright] plays with an ensemble of solo strings plus double bass and guitar… the atmosphere is
intimate, closely recorded. The dry Glasgow acoustic and even balance of piano and strings suits this
approach. Seivewright is steadier and more refined [than van Bloss on comparative CD] but this allows
the piano to display more wit… not as scintillating [but] more lightly articulated, smoother, quite blithe
and comely. Seivewright is reflective yet is also complemented by Ramsay’s expressive chamber
ensemble.” – Michael Greenhalgh (MusicWeb, edited from joint review)
“Clean and stylish playing” – Brian Wilson (MusicWeb Download Roundup)
25031
The Everlasting Habitations:
“Nicely produced.. worth picking up. [Myles Hartley’s] playing can hardly be faulted” – Chris Bragg
(Musicweb)
“In [Cook’s] organ works one might make a correlation with Messiaen. The [music] is realized in the
organ’s rich changing colours and sonorities… yet the underlying tension holds the listener. Myles
Hartley is a very persuasive advocate.. he is very well recorded indeed.”  (outstanding).- Ivan
March (Penguin Guide to Compact Discs)
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“Technically the music is assured and it seems to be very well played by Myles Hartley… a worthy disc”
– John Quinn (Musicweb)
25032
“Orientale”:
"Ear-tweaking combination of East and West... It's fun, this - a neat idea, very well executed ... startlingly
effective. I really enjoyed this." - Andrew McGregor (BBC Radio 3 – CD Review)
“This fine husband-and-wife piano duo plays this colourful programme with a sensitivity to atmosphere
that consistently beguiles the senses.” – Julian Haylock (Classic FM magazine)
“Their trawling of two-piano music has brought to the surface masterworks that are both entertaining and
informative. Seldom have they produced such a fascinating collection as in this, their latest disc, which
brings together a set of eight pieces inspired by the east.” – Michael Tumelty (Glasgow Herald)
“Ravishing sensitivity to mood and atmosphere… beguilingly sensuous – Julian Haylock (International
Piano)
“Evocative and delightful… a thoroughly enjoyable disc. That it’s also musically elevated, in
performances of sweep and sensitivity, and splendidly recorded, is no surprise. - Jonathan Woolf
(MusicWeb)
“Divine Art cannot be faulted on generosity or originality.. The artistry of this piano duo is never in
doubt… A generous, colourful and provocative collection of pieces with an Oriental theme all very well
documented by Anthony Goldstone” - Rob Barnett (MusicWeb)
25033
“Tzigane”: PIANIST MAGAZINE CD CHOICE MARCH 2006
“[Goldstone] shows both his virtuosity and musicianship… a sparkling display of the highest quality. This
appealing, accessible music is played by a musician at the top of his form.” – John Pitt (New Classics)
“It is the best piano-recording - the best pianism - we've heard for a long time.” – Ronald Stevenson
(composer)
“quite spectacular feats of brilliant pianism… exciting and full of real tension. A programme of stunning
virtuosity enhanced by musicianship of the highest quality.” - Denby Richards (Musical Opinion)
"Goldstone is spot on in his choice, The real joy is his skill as an arranger... he delves into this music
with sprightly sparkling joy and daredevilry... finely recorded and beautifully presented" - Marcus Dawn
(Pianist magazine)
“unashamedly virtuosic and played with sensitivity, passion and technique equal to the task… A pianistic
tour de force without a doubt, and most warmly recommended.” - Evan Dickerson (MusicWeb)
“Goldstone’s playing is outstanding… sheer joy. Exhilarating music” – Shirley Ratcliffe (International
Piano)
“virtuosic playing that even someone like Cziffra has not traversed… Goldstone is not only a first-rank
pianist but also a superb transcriber and arranger. To perform [Galanta Dances] makes technical
demands on the pianist that have to be heard to be believed. Highly recommended.” – Lance Hill
(Classical Music Guide)
“a wee goldmine of dazzlingly-played music with a strong Hungarian flavour, a heavily paprika-ed
aroma, and containing some spicy and previously undiscovered nuggets.” - Michael Tumelty (Glasgow
Herald)
“the music is, as you’d expect, tuneful, scintillating and easy on the ear… a most enjoyable disc.”
 - Jeremy Nicholas (Classic FM Magazine)
“expression rich enough to be given an immediate encore… it is a revelation to listen [in the Falla piece]
to Goldstone’s rhythmically emphatic, even clinical approach, against which the slower sections exude
hypnotic fascination.” – Colin Anderson (International Record Review)
15
25034
“Five-Fifteen”:
“Delicious” – Musical Opinion (Christmas CD selection 2005)
“a quiet joy…in a state-of-the –art recording” – Ron Burnett (York Evening Press)
“a wonderful and enchanting glimpse into the past innocence of a by-gone era. The music is delightful on
many fronts” – Edward Blanco (Jazzreview.com)
“sound quality is superb and the overall result something of a knockout”- Barry McCanna (Memory Lane)
“it’s all here… all the nuances of the BBC Dance Orchestra on display and all the vocalists in perfect
accord with the period. Lovingly played… superbly recorded.” – Peter Green (Big Bands International)
“golden melodies and lyrics… all will appeal… have a wonderful time discovering them” – Frank Behrens
(Amazon.com)
“Mart Sander's Swing Swindlers seem to have captured the original style very well… sensitively
performed, beautifully recorded tone. [The vocalists’] tone is smooth and diction is perfect.” – Peter
Edwards (Light Music Society Newsletter)
“very talented young Estonian Musicians… the rhythm section is a great improvement on the original. To
the people who like the Henry Hall style of music, this is a welcome recreation of a very famous
orchestra’s work.” - Don Mather (MusicWeb Jazz)
25035
The Return of Odysseus:
“The CD is fabulous. I played it twice to Sir Malcolm and we are both thrilled… this is a fantastic CD
altogether, we love it!” - Anthony Day (Sir Malcolm Arnold’s PA)
“An essential purchase… not to be missed” – Rob Barnett (MusicWeb) **MUSICWEB RECORDING OF
THE MONTH 2/06**
“I applaud Divine Arts for this valuable contribution to the Arnold discography: Odysseus is indeed
returned - to his proper place, before the music-loving public. Make no mistake, overall this is a sterling
performance by Graham Taylor and his Glasgow cohorts. They sound as though they enjoyed
themselves hugely whilst making the CD. I’m having just as much fun listening to it - and so, for that
matter, should you. - Paul Serotsky (MusicWeb)
"[the Arnold has] typically vivid scoring. Conductor Graham Taylor points up the detail, his feel for colour
and texture as engaging in [the other works]” - Tom Hall (Culture Magazine) - CD OF THE MONTH
“a fine debut album…The Chorus rise to the occasion with a knock-out climax. [The VW] is a touching
and beautiful performance.  - Michael Tumelty (Glasgow Herald)
“[Odysseus] is an approachable and lusty affair.. Taylor secures a lively, spirited account. [The Milhaud]
is a delectably tuneful and tangy gem.” - Andrew Achenbach (The Gramophone)
“excellent stuff… [the VW] performance is a fine one, well sung, well played. The Milhaud…is extremely
well played. [The Arnold] receives another remarkable performance, with a particularly outstanding
contribution from the fine amateur choir.” – William Hedley (Journal of the RVW Society)
“a lively and enjoyable cantata. Orchestra, chorus and soloist do fine justice to the score…a fine
recommendable program” – Haldeman (American Record Guide)
“[Odysseus] is highly listenable… a masterly simplification of Homer’s Odyssey”. - Nick Bailey
(Classic FM Magazine)
“a great addition to the English choral repertoire… the recording is very agreeable and well
recommended” – TMS (Federation of Recorded Music Societies)
25036
Jill Crossland Live at Restoration House
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Thrilling sound… lucid yet powerful interpretations [of the Bach]… masterly performance [of the
Handel]… the whole programme can be recommended with confidence. Divine Art’s recording quality is
superb.” – Geoffrey Crankshaw (Musical Opinion)
“This engaging live recital grabbed and held our attention… fresh rhythmic liveliness, telling agogics and
a predominantly light articulation… has given unique pleasure and satisfaction” – P.G.Woolf (Musical
Pointers)
“The English Suite receives an expository treatment, with the lucid phrasing emphasized by crisp
articulation and well-placed agogic accents. The Scarlatti Sonata is particularly well characterized.
Crossland really cuts loose [in the Handel], with a performance full of intensity and, at times, real pathos”
– Robert Levett (International Record Review)
“Crossland’s playing is highly demonstrative with powerful bass strokes, strongly articulated phrasing
and incisive accenting. She provides an exceptional performance [of the English Suite]… a confident
interpretation of storytelling proportion. The disc is highly rewarding and especially recommended to
fortepiano enthusiasts” - Don Satz (MusicWeb)
“Jill Crossland has the ability to present Baroque and early Classical music with a depth of response that
brings it alive and to make it timeless… it is quite a shock to encounter Crossland playing a fortepiano.
Plenty of Crossland magic to be savoured.” – Colin Anderson (Classical Source)
25038
Graham Whettam Piano Music
“These very gifted pianists play with a total commitment that is rare in performances of modern music. I
very much hope that this excellent record will go a long way to bring the work of this thoughtful and
accomplished creative figure to the attention of a wider musical public” – Robert Matthew-Walker
(Musical Opinion)
“All in all an impressive and rewarding collection given exceptionally vivid recording”- Ivan March (The
Gramophone)
“Powerful and dramatic music…familiar, accessible, yet also fascinatingly individual. One wants to hear
more.” – Colin Anderson (Classical Source)
“Every piece is superbly performed… a rich and natural recording. Each work is fine indeed… and in the
case of the first piece “Night Music” the word “outstanding” comes to mind. A splendid disc”. – Gary
Higginson (MusicWeb)
“Exuberant yet accessible music deserves to be much more widely known… exceptional performances.”
– New Classics
“Graham Whettam’s piano music – solo or duet – is strong stuff, and played with effortless and
convincing solidity by Goldstone and Clemmow. The recording is excellent. I have been mightily
impressed by this new release… I sincerely hope this CD will receive the broadcast attention it
deserves… with Graham Whettam’s 80th birthday in 2007 he is by all accounts long overdue for some
extra recognition.” – Dominy Clements (MusicWeb)
“this collection which is well released, made me want to hear more” – Peter Spaull (Liverpool Daly Echo)
25039
Schubert Unauthorised Piano Duos, vol. 2
“a superlative husband and wife team of pianists… a cracking disc with a stunning transcription of the
Arpeggione Sonata” - Michael Tumelty (Glasgow Herald)
“The music [of the Trio] is sublime. Exquisite melodies pour out from a composer in full creative flow.
Goldstone and Clemmow give a masterclass in the art of duet playing. They are completely sensitive to
each other’s performance and play as one.” – Shirley Ratcliffe (International Piano)
“Richly rewarding offering…sparkling keyboard fare expertly handled” – Kevin Bryan (Stirling News and
other UK regional newspapers)
“For those who enjoyed [volume 1], this sequel will come as a blessing. Goldstone and Clemmow are of
such a calibre that technique is never questioned. They make no room for technical error or
interpretative shortcomings. A phenomenally refreshing outlook… mesmerizing and invaluable
recordings. A stellar piano duo.” – Hexameron (Amazon.com)
17
“Bright detailed recording, committed playing, good notes and design; if you want to hear these works as
piano duets, no reservations.” - Ying Chang (Musical Pointers)
“Beautiful playing, sympathetic recording, illuminating presentation… roll on Volume 3.” – Piers BurtonPage (International Record Review)
“We are indebted to Goldstone and Clemmow. The playing is of the highest quality, the textural balance
first-rate, and the sound quality excellent. Highly recommended.” – A. Crawford Howie (The Schubertian)
“These interpretations are as absorbing and entertaining as the arrangements themselves… they
unfailingly bring to the fore both Schubert’s and Gahy’s flair for structure and melody” - Gerald Fenech
(ClassicalNet)
“The well-proven duo Caroline Clemmow and Anthony Goldstone again show class in their treatment of
Schubert. The duo are very expressive and more than masterful. With apparently playful ease they
manage the elaboration in clear lines. Often it sounds as if one person is playing with four hands, without
it ever being too uniform or homogeneous.” - Aron Sayed (Klassik.com)
“Once again, the piano duo of Goldstone and Clemmow has discovered works transcribed for piano,
four-hands that are sure to fascinate not only fans of piano duets, but also those of the original
composer. Goldstone and Clemmow's dedication to expanding the piano duet repertoire has once again
found treasure with these Schubert transcriptions - Patsy Morita (All-Music Guide)
25040
The Voice of the Clarinet
“This is a feast for those addicted to the liquid legato of the clarinet. The hero here is Cristo Barrios and
his accomplished partner is Clinton Cormany. Together they put forward a largely delightful collection.” –
Jonathan Woolf (MusicWeb)
“There is of course lots of lovely, even cosy, deliquescent melody around. Cristo Barrios makes a nice
individual sound, reedier than some, and has great breath-control; and I am sure he has absorbed all the
texts, which are generously printed in full in the booklet. There is no shortage of beautiful moments, and
even surprises.” – Piers Burton-Page (International Record Review)
“The transcriptions are well done, and Cormany’s playing mirrors his vast experience as a vocal
accompanist. Barrios, a former student of Richard Stolzman, bears much of his teacher’s passionate
musicianship.” – Hanudel (American Record Guide)
25041
Buxtehude Organ Music
“impeccable performances…Hamilton finds lovely sounds from.. the outstanding instrument. Hamilton
provides exemplary programme notes. A worthy addition to the Buxtehude discography.” – Christopher
Nickol (Gramophone)
“fine new performances of thirteen of the great baroque master’s organ works… this album makes an
excellent introduction to a composer who paved the way for the great J S Bach.” – New Classics
“lovely organ full of beautifully voiced and perfectly complementary stops… impeccable presence and
realism [of the] recording. Powerfully paced and gloriously fluent {playing]… a thoroughly enjoyable
disc… one of the more imposing releases in this Buxtehude tercentenary year” – Marc Rochester
(International Record Review)
“as good a selection as any… expertly played by David Hamilton on an ideal instrument” – Philip Reed
(Choir and Organ)
“a well-chosen and varied collection…thoughtful registrations, meticulous playing. David Hamilton is
clearly something of a specialist in this genre.” - Max Kenworthy (MusicWeb)
25042
Grieg for Piano Duo
“Divine Art…has produced a wide range of interesting and eminently worthwhile records. In terms of the
Grieg centenary I have to commend a disc which… is an important and valuable one… played by the
very gifted two –piano team. The recording quality is splendidly true and excellently balanced. A
fascinating disc, the musicianship of these two players being particularly and consistently impressive.” –
Robert Matthew-Walker (International Record Review)
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“Divine Art has released another winner… these pieces stand on their own as minor masterpieces for
the keyboard. This is a CD I will be replaying many times, as I have with other Divine Art recordings
featuring these marvellous players.” – Frank Behrens (Keene Sentinel)
“Played with compelling freshness… with Goldstone pulling out all the stops and Clemmow integrating
and balancing the accompaniment to perfection… an outstanding recital” – Julian Haylock (International
Piano)
“The veteran two-piano team of Anthony Goldstone and Caroline Clemmow have been torrential in
delivering unfamiliar versions of classics from the hinterland of the repertoire. But in their latest disc, they
have surpassed themselves. The result is wonderful” - Michael Tumelty (Glasgow Herald)
“A disc of charm and curios… four-handed Grieg and Mozart provide consistent pleasure” – Mike
Ashman (Gramophone)
“Here we have a knockout performance [ of the Concerto] that took me by surprise. This should be
required listening for anyone learning this concerto. I can’t recall enjoying a release in this way before...
given the high quality of Goldstone and Clemmow’s interpretations and their near-perfect ensemble...
this is rather special.” – Harrington (American Record Guide)
“I found the whole experience of listening highly congenial… the recording is very well judged. The
playing is buoyant and sensitive by turns; this duo has a real flair for the unexpected. An unusual
perspective on a much-abused warhorse – with the added attraction of some equally diverting
companion works”- Jonathan Woolf (MusicWeb)
“The indefatigable piano duo in world premières of Grieg’s own two-piano version of his Concerto and
“Sigurd Jorsalfar March” ” - Jeremy Nicholas(Classic FM Magazine)
“admirably clear-sighted…the artistry of Goldstone and Clemmow bring the music to life… selfrecommending” - Colin Anderson (International Record Review)
“the music comes through with a “minty” freshness that stimulates and excites.. these pieces can
become part of the staple repertoire”. – Gerald Fenech (ClassicalNet)
“This version of the concerto certainly has appeal. Another revelation is the inclusion of the two-piano
version of the Mozart…a charming gilding of the lily. An interesting and well-performed programme. The
recording quality is solid and clear. Catch this one while it’s available” - David Blomenberg (MusicWeb)
25044
Forbidden Voices
“A sad chapter of German history is brought to light by this song recital” – Peter Spaull (Liverpool Daily
Post)
“Sheridan’s light lyric voice is sweet…the accompaniment is excellent, and it is well recorded. The songs
are all worth hearing. It is simply musical justice that this music should be heard by a wider audience.” R. Moore (American Record Guide)
“Judith Sheridan has done wonders has done wonders in bringing together and recording 33 songs by
composers banned by the Nazis. The seriousness of purpose brought to the performances is
undeniable.” – Neville Cohn (The Maccabean - Australia)
“Only when fighting, even when losing, does life bring joy”: such lines bring a gulp to the throat in this
programme of music from Jewish composers banned or gassed by the Nazis. Sheridan… has heart and
passion, which warms the more testing selections by Ullmann and Schulhoff. Pavel Haas’s Seven Folk
Songs are the best discovery.” - Geoff Brown (The Times)
“Driven by sensitive historical awareness, this disc tells of past tragedy and future hope… never wanting
soul.”  - Classic FM Magazine
“Copiously annotated collection. The soprano is sympathetically accompanied” – David Gutman
(Gramophone)
“Fascinating collection of songs. Judith Sheridan is very committed to this project, hence her vast and
superbly presented notes. Exceptional pianism of Craig Combs…no praise is too high for his
contribution.” – Gary Higginson (MusicWeb)
19
25045
National Youth Orchestra of Wales Elgar 2nd Symphony
“truly outstanding CD…[the Symphony] is delivered with a bold fluency and deeply felt eloquence.
[Hoddinott’s Dances] deserve more regular airings… an excellent disc” - Denby Richards (Musical
Opinion)
“A fine performance of the Symphony… really splendid… the conducting and playing are magnificent
and truly moving. Way above the ordinary and very well recorded. – Robert Matthew-Walker
(International record Review)
“the youngsters acquit themselves splendidly”  – Jeremy Nicholas (Classic FM Magazine)
“ a fine showing in Elgar’s 2nd symphony… a very creditable release indeed” – Peter Spaull (Liverpool
Daily Echo)
"This version of Elgar 2 has a lot going for it...Hoddinott’s dances are superbly carried off by the young
players. The notes by Peter Reynolds are outstandingly good having some fascinating touches woven
in." - Rob Barnett (Musicweb)
“this new recording on Elgar’s magnificent 2nd symphony is a fascinating one…[the orchestra] give an
excellent account of themselves.. the finale… is a tour de force. With copious notes and fine
presentation, this… should prove to be a winner.” – Gerald Fenech (ClassicalNet)
“The [orchestra] plays [the Hoddinott] with skill, unanimity and identification. [The Elgar] is a very
creditable account for a youth orchestra. A brave choice, valiantly undertaken” – Colin Anderson
"[the NYOW} is a very good [orchestra] that can hold its own with some professional orchestras of
several decades past...what the performance [of the Elgar] has going for it as an unusually dark and
mysterious view of the symphony. The performance [of the Hoddinott] is fittingly lively and very good" Hecht (American Record Guide)
25046
Mozart on Reflection
“Played with vitality and rich humanity...delightful revelations…[Goldstone’s B flat sonata realisation] is a
tour de force… a living, breathing work of which even the master would have been proud.” – Julian
Haylock (International Piano)
“well recorded disc… the Piano Sonata in B flat major… is a truly intriguing find and again it comes alive
quite magically. Divine Art deserve praise for venturing into this two piano repertoire which is reaping
significant results for the label in this neglected field. Copious notes by Anthony Goldstone set the seal
on a most stimulating release.” - Gerald Fenech (ClassicalNet)
“this is a valuable release, with fine recorded quality… Goldstone and Clemmow are a talented duo, able
to immerse themselves both in their own lines and in those of their partner. The choices of tempo,
dynamic contrast and phrasing carry quiet conviction.” – Peter Branscombe (International Record
Review)
“Absolutely convincing Mozart. This is a major addition to the repertoire. The performances are both
lovingly attentive to detail and fizz with energy, and the recorded sound is as natural as the morning
sun.” - Martin Anderson (Klassiks Musikkmagasin (Norway)
“... wonderful release. Anthony Goldstone shows us that his compositional and arrangement skills are
the equal to his pianistic ones. The performance [of K448] can only be described as sparkling. Excellent
sound and interesting booklet notes round off a very enjoyable release.” – Harrington (American Record
Guide)
“This disc of keyboard music for four hands has a claim to our attention beyond the mere excellence of
the playing, the indefatigable Goldstone offering his realisation of an abandoned Sonata in B flat major
for two pianos... It’s well worth hearing. Lovely disc, complemented by Goldstone’s notes.” - Jeremy
Nicholas (Gramophone)
“Some of the most attractive pieces in the Mozart repertoire.. sparkling rendition of the Overture from
The Magic Flute” – Kevin Bryan (Stirling News)
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25047
Fortmann: Requiem etc
“Thomas Fortmann has achieved what repeatedly eludes others, here and in America. Within his first
few opening bars one is aware that the music possesses an integral sense of direction, sure
compositional integrity, and a degree of emotional content that immediately engages the attention.
Thomas Fortmann has crossed the divide separating pop from modern classical music. Best of all, he
hasn't plummeted into the chasm separating both, and littered with the fallen.” - Howard Smith (Sound &
Vision)
“[Fortmann’s] compositional style is rather complex; he draws on techniques established by the likes of
Schoenberg and Hindemith, but does not imitate them directly, thus making a language that is truly all
his own. The Tango Catolico (for string quartet) is fascinating work that amazingly morphs an almost
liturgical sound into a vibrant tango. The centerpiece of the album is Fortmann's "Requiem for an Unborn
Child," a rather ominous-sounding subject matter to be sure. Scored for clarinet, violin, cello, piano, and
soprano, the sparse texture and effective text-painting allow listeners to focus on the meaning Fortmann
is trying to get across.” Performance  Sound  - Mike Brownell (All-Music)
“Tango Catolico only hints at the tango. The rhythms are all shot to pieces, which makes the work all the
more interesting. Ladyboy is a sharply atonal work of cogent phrasing and distinct sonic colors, none of
them predictable, all of them interesting.” – Cook (American Record Guide)
25048
Gossiana
“Throughout, Giles Davies sings impeccably, with a fine sense of style, and is admirably accompanied
by Steven Devine. The recording quality is also excellent, and performance notes and texts are included.
This is a really delightful CD, which is wholeheartedly recommended.” - Robert Matthew-Walker (Musical
Opinion)
“This recording is a mighty labour of love. Giles Davies and the Goss Male Quartet with pianist Steven
Devine illuminate an important tradition in English singing that is almost lost. How sad that so few of the
singer’s own recordings have survived. That is all the more reason to cherish this recording. It’s not John
Goss, but it’s as near as we are likely to get to a fine and generous artist and a lost tradition of musicmaking.” - Christopher Cook (International Record Review)
“[John Goss].. was a great entertainer & an innate musician & performer. This CD is a celebration &
dedication to this wonderfully talented character & the items chosen are perhaps many that Goss himself
might have included in his recitals. For Giles Davis, this is obviously a labour of love & he manages to
squeeze out all the emotional & musical expressiveness of the repertoire in question. Stephen Devine &
the Goss Male Quartet lend sympathetic support throughout. This is certainly a fitting tribute to one of
Britain's most lovable yet astoundingly neglected artists.” – Gerald Fenech (ClassicaNet)
“Throughout, the singing is exemplary, the diction faultless, and a wide range of tone and colour coupled
with the wide range of repertoire means that one’s mind is always kept captivated. The pianist, Steven
Devine, also has a vivid sense of colour and there were moments when I wondered how many different
instruments he was playing, the Elizabethan songs are almost lute-like, and the end of Schubert’s ‘The
grave-diggers longing for home’ has the depth and resonance of a real double bass.” – Malcolm Rudland
(Peter Warlock Society Newsletter)
“Subtitled “A 1920s Anthology of Song” we receive a firm appreciation as to Goss’s pioneering
explorations. It’s the English Song selection though that will probably generate the most interest and
enthusiasm. Giles Davies is an adept singer... This is a worthy salute to an important figure in British
song life.” – Jonathan Woolf (MusicWeb)
“Beautifully sung... Davies’s love and knowledge of this repertoire shines through...the selection of songs
is a very fine one and the fact that the disc also contains detailed, interesting and well-written notes is a
bonus.” – Em Marshall (Albion Magazine)
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25049
The Far Country
“Jeffreys could be counted among the great songwriters of the second English Renaissance… his
sparse, evanescent accompaniments are incredibly evocative and his melodies…release the fragrant
depths of his chosen texts with seemingly effortless grace. Beautifully realised by tenor James Gilchrist”
– Robert Levett (International Record Review)
“Worthy of comparison to much better-known composers....[Jeffreys] has an exceptional ability to create
a variety of musical expressions that fit the words. You will not want to pass this up. Gilchrist’s voice has
a gentleness, warmth and sweetness that is just right, and his enunciation is impeccable. Good notes
and texts. “ – R. Moore (American Record Guide)
“Advocacy such as this is great for any composer, and still more so for one whose music has not yet
attracted the attention it deserves. In James Gilchrist these present songs have an excellent advocate.
Overall this is a very good disc indeed. These songs deserve the exposure that discs like this make
possible. They are in the best traditions of the English song genre and collectors... will find this disc has
many rewards.” – John Quinn (Music Web)
“This is music for a quiet evening – in contemplation of some of the less complex emotions aroused by
things fine and beautiful – all beautifully sung by James Gilchrist with Anna Tilbrook accompanying.” Colin Scott-Sutherland (MusicWeb)
“James Gilchrist is the splendid soloist on this disc, his excellent diction and great beauty of tone
demonstrated in a wide range of moods.” – Em Marshall (Albion Magazine)
“Not ‘fashionable’ perhaps, but a composer sensitive both to words and music. The programme includes
eight first recordings. Tenor James Gilchrist has a warm voice, and has the support of a fine pianist. “ John Steane (Gramophone)
25050
Fantasie – Music for Horn
“Cutajar shows considerable promise as a soloist… his technique, especially in the modern works,
leaves little to be desired.” – Leslie Wright (MusicWeb)
“The musicianship of this gifted young Maltese horn player is first-class throughout…this is a welcome
CD and highly recommended” - Robert Matthew-Walker (Musical Opinion)
25051
Unheard Mozart
BBC Music Magazine Instrumental Choice October 2007
“Long immersion in Mozart’s unfinished compositions has enabled Goldstone to feel the potential of the
relationship between fragmentary movements. The playing is unfailingly thoughtful, undemonstrative,
observant of the varying stylistic demands. The sound is fresh, clear and free of excessive resonance…a
major benefit is the detailed and highly informative essay that Julian Rushton has written… this is a
fascinating and significant issue” – Peter Branscombe (International Record Review)
“Fascinating and beautifully recorded disc. Goldstone has done a sterling job.” Performance 
Sound  Erik Levi (BBC Music Magazine)
“ Sonatas in F major and G minor dominate proceedings, and their presence alone should make this CD
an essential purchase” – Peter Spaull (UK regional press)
“Of the works realised by Goldstone... the structures are clear and the invention (Where does Mozart
leave off?) highly creative in terms of melody, rhythm and harmony – all in the context of Mozartean
style. Goldstone has approached his tasks as a highly cultivated and seriously motivated musician
whose credentials include some recordings of insight and imagination. With very good sound and
entertaining and delightful [music] this may be purchased with confidence.” – Becker (American Record
Guide)
“A delightful collection of works for piano solo ... played with consummate ease and lyrical sensitivity by
a master of his instrument. For lovers of Mozart and/or piano music this is a must.” – Federation of
Recorded Music Societies Bulletin
“All the material is restored with love, style and skill” – Nottingham Evening Post
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“Finishing Mozart needn’t be a sacrilegious act, as may be heard… particularly [in] the Praeludium in C
major. When [Goldstone’s] playing is sympathetic to his best creative efforts, he makes for very
absorbing listening.” –Nalen Anthoni (Gramophone)
25052
American Piano Sonatas, vol. 1
“[Seivewright’s] pianism is fully up to [the three sonatas’] very different though equally formidable
demands... the inlay features an eloquent endorsement from Elliott Carter [from 25 years ago] and the
present account confirms that his identity with this piece remains undimmed. The disc is well
recommended overall” – Richard Whitehouse (International Record Review)
“Seivewright’s remarkable talent contributes immeasurably to the cause of these sonatas and his
attention to detail is indeed faultless. Some ‘tough’ repertoire zestfully performed and captured in clean
balanced sound.” – Gerald Fenech (Classical Net)
“A rich and intriguing mix of music. An eminently rewarding reading [of the Carter], A fascinating
program delivered with style and flair” – Colin Clarke (Fanfare)
“Bartok meets Hollywood in a score from a composer best known for film music... the last movement [of
the Rozsa Sonata] is brilliantly brought off. Throughout, Seivewright exhibits a prodigious technique” –
Peter Dickinson (Gramophone)
“This is an intriguing collection... [the Rozsa Sonata] is a powerful, tautly conceived Sonata. The Elliott
Carter Sonata is a pivotal work in the creative life of our centenarian master. Seivewright approaches the
work from a contemporary perspective, emphasizing the angularity and abstraction of the work.
Seivewright certainly has the imprimatur of the composer...a riveting and energetic program” – Peter
Burwasser (Fanfare)
“Peter Seivewright is surely completely on top of the music. His attention to detail, particularly regarding
the harmonic overtones, is superb and he has a piano and a recording engineer able to do justice to his
interpretation.” – Jeremy Marchant (Fanfare)
“Carter called [Seivewright’s performance of his Sonata] “breathtaking’ and so it sounds here.
Seivewright’s performance [of the Rozsa] is lucid, expressive, and a bit stark. [He] makes the most of
[the MacDowell ] sonata’s heart-on-sleeve directness. He also offers detailed, authoritative notes.” –
Sullivan (American Record Guide)
25053
Hugill: The Testament of Dr. Cranmer
“Having listened to the first work on this CD, I was sold. John Quinn called the central work sincere and
dramatic – and I’m happy to endorse both that description and his reference to the performances of
everything here as expert and committed. Do try this.” – Brian Wilson (MusicWeb Download Roundup)
DISCOVERY OF THE MONTH MAY 2010
“Hugill’s style is attractive and accessible, though far from anodyne… a practical church composer of
real inspiration… an original, yet highly personable voice. Tenor Christopher Watson gives poised
dignity… while Simon Baggs is equally eloquent. The strings of the Chameleon Arts Orchestra provide
solid support. Conductor Paul Brough oversees proceedings with a precision and restraint that suites
Hugill’s pellucid texture” – William Yeoman (Classical Source)
“Overall the music is sincere and communicative and it’s expertly performed. Several passages are
searingly dramatic but there are a number of more meditative, prayerful sections. This well produced
disc features committed performances. The sound is excellent and the documentation, including notes
by the composer, is very good” – John Quinn (MusicWeb)
"[Christopher Watson's] beauty of sound appears effortless, yet he brings the impassioned moments
directly to our attention with style. The eight voices of the ‘eight:fifteen’ vocal ensemble produce a radiant
sound...Brough capably directs the two very different groups of musicians with considerable aplomb.
This is a disc of initial unknowns, but the end result is delightful." - Will Dawes (Church Music Quarterly)
“A strong use of strings characterises this album, in the strong spiritual sense which runs through all the
works. For example in Faith Hope and Charity the sublime music of the solo violin has the effect of
easing troubled spirits.” - Francesca Guerrasio (ResMusica)
“A well played performance, anyone with a hankering for getting deeper into some church oriented
programs is well advised to open an ear in this direction.” - Chris Spector (Midwest Record ,USA)
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“The Testament of Dr Cranmer, an interestingly made musical account of the close of Dr Cranmer's
life… contains some beautifully taught harmonic pungency. The choral singers are excellent, and
Christopher Watson has a most appealing tenor voice, featuring in two pieces with string orchestra. The
four Latin motets from Hugill's collection Tempus per Annum, all must appeal to any church choir. The
performances are excellent and the recording serves both singers and orchestra well and makes
listening a pleasure.” - Patric Standford (Sound & Vision)
25054
Enchantment – Music for Flute
“Playing so ravishing that I need… to find new superlatives. Simply beautiful… greatest virtuosity…
terrific performance” - Robert Bigio (Pan, The Flute Magazine)
“A special feel for sonorous beauty…absolutely ravishing… always very expressive and adapting to the
different colours of the pieces, in perfect taste and without any excess: this disc is a true enchantment!”
– Marcel Louis (Pizzicato)
25056
Brian Chapple Piano Music
“Certainly a find for those that love to discover the new. Goldstone and Clemmow bring [Chapple] the
kind of exposure that will move him from the ranks of the cult hero. Dazzling players in their own right,
this is a solid set that opens the ears whether moving through fun or serious works. Tasty” – Chris
Spector (Midwest Record)
“It is a great pleasure to be able to welcome a disc of unfamiliar music by a composer who has
something to say and the ability to say it interestingly and economically. The playing of both players
seems wholly convincing and indeed wholly at the service of the music... the recording quality is
excellent ... [an] enterprising and very enjoyable disc.” – John Sheppard (MusicWeb)
“[Chapple] has written some attractive music of real substance. So impressed was I by [the] Sonata that
I took Anthony Goldstone’s superb pianism for granted. His performance really is magnificent. Caroline
Clemmow’s playing of [the Bagatelles] is wonderful.. the richness of her playing towards the end of the
work is superb. Anthony Goldstone really gets inside [Requies] conjuring up and intense and
mesmerising performance. Jazz rhythms embrace [Four Pieces from ‘A Bit of a Blow’ in a piano
performance of style and panache showing this duo’s astonishing artistry and versatility.” – “The
Classical Reviewer”
25057
Gershwin and Ravel Piano Duos (digital download only)
“I welcome this disk wholeheartedly for its joyous and infectious exuberance. Magnificent performances,
excellent recording and fine notes, by Goldstone, make this a most desirable disk.” – Bob Briggs
(MusicWeb)
“This disc is a delight from start to finish… such inspired piano playing throughout. The disc is fabulous
as it is but the added bonus of detailed notes by Anthony Goldstone make for a truly indispensable
package. Thumbs up to the enterprising label that is Divine Art for providing us with such a barnstormer
of a disc. Here’s to more from this fine stable. - Gerald Fenech (ClassicalNet)
“This generous collection is a great combination of the best-known works by each composer along with
some less familiar works. Goldstone and Clemmow ... are simply marvellous. I have only the best to say
about their performance of Bolero. I assume it is very taxing, with all of the repeated notes, and their
ensemble is perfect for the full duration. Goldstone and Clemmow have consistently impressed me with
their repertoire choices, musicality and precision ensemble. This release continues the tradition.” Harrington (American Record Guide)
“Disc further enhances [the duo’s] considerable reputation. Very worthy performances, the programme is
an attractive one for its variety…and the sound quality is ideal.” - Nicholas Salwey (International Record
Review)
“Gershwin’s Rhapsody in Blue fares brilliantly in a version for two pianos. Goldstone and Clemmow can
comete with any jazz band and they dance around on the keyboard like tap dancers.” - Marius Dawn
(Pianist)
“The performance [of Rhapsody in Blue] is packed with poetic exuberance and well worth the cost of the
CD in its own right…the other Gershwin pieces offer new facets to Gershwin. Ravel’s “Mother Goose” is
a delight and played with an enormous sense of imagery. – Denby Richards (Musical Opinion)
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“The indefatigable husband and wife team in an enterprising and entertaining programme of twopiano/piano-duet works from two composers (and friends).”  – Jeremy Nicholas (Classic FM
Magazine)
“Their influence [Gershwin and Ravel] on each other is evident in this delightful disc from the British
husband-and-wife team Anthony Goldstone and Caroline Clemmow” – Anthony Holden (The Guardian)
“Classical piano fans have a winner of a set here as the duo takes you inside the music in a way that you
night not have been before.” – Chris Spector (Midwest Record)
“Typically, Goldstone and Clemmow have researched the repertoire well. There are some nice touches
in the Ravel. They are at their best in the brasher works… the Cuban Overture has real élan.” –
Christopher Dingle (BBC Music Magazine)
25059
John Garth: Cello Concertos
“The performers here cherish every note of the music. This is a very fine achievement. Memorable
music, persuasively performed, richly recorded and among the most rewarding releases of the year.” –
Simon Heighes (International Record Review)
“Garth's concertos will bear comparison with anything of the time from Mannheim or Vienna, and are a
real gift to cellists. They should be much better known. The concertos are beautifully played by Richard
Tunnicliffe, very stylishly accompanied by a one-to-a-part group — for which three cheers! I strongly
recommend these highly enjoyable discs.” – Richard Maunder (Early Music News)
“This is wonderful music, possessed of flair, style, and occasional significant breadth. The performances
are equally commendable. Richard Tunnicliffe is in complete control of his instrument. The Avison
Ensemble ... play with generous helpings of solid musicianship, not to mention complete dedication. The
tempos are comfortable, never rushed or lugubrious, and the sound is quite vivid,This is a must-have for
cellists, Anglophiles, and all who cherish music of the era; it is also the latest inductee into our Classical
Hall of Fame.” - Michael Carter (Fanfare) A FANFARE CLASSICAL HALL OF FAME SELECTED CD
“Accomplished stuff: melodically attractive, pleasingly fluent. The performances are technically and
musically skilled, both from Richard Tunnicliffe and the one-to-a-part band vibrantly led by Pavlo
Beznosiuk. The recording is clear and airy – perfectly fitting for this refreshing release. – Lindsay Kemp
(Gramophone)
“The orchestration throughout is sound, unimpeachable and the small ensemble forces offer Richard
Tunnicliffe sterling support. The recording sounds highly sympathetic and attractive. Tunnicliffe’s
achievement is to characterise the concertos with individuality, to bring them to life with a strong sense
of character… he manages to do so with real flair and technical surety.” – Jonathan Woolf (MusicWeb)
“Works of superb craftsmanship and great allure. They are given wonderfully crisp, enthusiastic, and
convincing performances by Richard Tunnicliffe and the Avison Ensemble on another excellent disc.”
- Em Marshall (Albion magazine)
“Garth does show considerable powers of invention, avoiding cliché and turning corners with grace and
wit. The slow movements are particularly attractive. The performances are excellent, with Richard
Tunnicliffe irresistibly mixing grace and virtuosity. The recording is clear without sounding clinical or
fierce. In performances such as these the present Concertos give immense pleasure. “ - John Sheppard
(MusicWeb)
“These Garth concertos … are utterly delightful listening. This world premiere recording features period
instruments.” – Berwick Advertiser
“[Garth] was a true expert of the instrument. The principal musical action is played out between the cello
and the first violin, generating an entertaining and lively dialogue. Richard Tunnicliffe… cannot help but
convince with his unobtrusive performance… Pavlo Beznosiuk… shines as leader of the ensemble with
his baroque violin dating from the year 1676. - Aron Sayed (Klassik.com)
“Admirable are Richard Tunnicliffe’s performances… [he] combines stylistic discipline with a refreshing
freedom of expression. An excellent pair of discs” – The Journal Culture Magazine
“In some ways, Garth’s concertos compare favourably with the wonderful cello concerto by Monn
which was composed before 1750, and which was also many years ahead of its time. As a fellow
25
cellist, I heartily thank Richard Tunnicliffe and the Avison Ensemble for bringing these works back to
the English public. They very much demand to be heard.” - Tatty Theo (The Consort)
“The six concertos for cello and orchestra that we have here witness a period of musical history
which is often overlooked, lying as it does between two absolutely dominant epochs” – PiRath
(Pizzicato, Luxembourg)
“Very worthy of investigation” – Peter Spaull (Liverpool Daily Post)
25060
David Earl Cello Sonata and Piano Suite no, 3
“Here is a strikingly original voice. [Earl’s music] is bursting with passion, its rhythms energising, its
melodies soaring and searing… this disc will blow you away” –Joe Laredo (International Piano)
“I am astonished that music this good should be so little known... these two large-scale works betoken a
genuine composer of considerable talent. I find the music compelling and fascinating. The recordings
are excellent and this CD is strongly recommended” – Robert Matthew-Walker (Musical Opinion)
”The ambitious Cello Sonata… is a moving work and this performance is movingly done. The Third Suite
is music that shimmers and flames. The composer is a fine advocate of his own music” - Rob Barnett
(MusicWeb)
“For those who like their contemporary music tonal, substantial and individual, I suggest you investigate.
David Earl is certainly a name to add to your list" - Jeremy Nicholas (Gramophone)
25061
The English Flute
“Presented in a proper English fashion…high toned listening throughout. It almost transports you to a
drawing room in another time and place.” – Chris Spector (Midwest Record, USA)
“I can’t think of a single modern player who makes a sound to rival the amber-toned, oak-aged ravishing
tone that radiates from Celia Redgate’s flute. Redgate and Dussek play with supreme naturalness;
mellifluous tone and impeccable technique… effortless phrasing and enchanting musical presence.
Glowingly recorded and played with exemplary taste and skill, this is one of the most distinguished flute
discs to have come my way in a long time.” – Julian Haylock (International Record Review)
“Redgate performs all this attractive material with conspicuous flair, grace and discrimination (vibrato is
kept within tasteful bounds). I need merely add that Michael Dussek accompanies with the utmost
sympathy, and the recorded sound is nicely intimate and beautifully balanced to boot.” - Andrew
Achenbach (Gramophone)
“The high points of the CD are for me [the works by Bowen and Redgate]. Michael Dussek is a first-rate
accompanist. The message of this CD is that simple is beautiful. Don’t just take my word for it, buy the
disc” – Richard Stagg (Pan Magazine)
“Redgate and Dussek are an excellent partnership on this disc of light, lovely music.” – Em Marshall
(Albion Magazine)
“Among a variety of good things there is German’s Suite for Flute & Piano. The Suite is an attractive
piece of ‘quintessentially English “music. In fact the middle movement, the Souvenir, is a perfect
miniature that well balances sentimentality with retrospection.” – John France (Land of Lost Content)
“The playing is first class. Michael Dussek... partners Celia Redgate beautifully. Recommended highly.”
(American review – details mislaid)
25062
Grandi: Motets
“Grandi…perhaps second in importance only to Monteverdi. Performances are decently polished and
delineated” – Andrew Clements (The Guardian)
‘Grandi’s fine melodic gift is in evidence throughout, as is his imaginatively responsive word-setting.
[Musica Secreta’s] deliciously mellifluous sound brings and extra level of exquisite intensity...really
delightful. A very great treat.” – Elizabeth Roche (Early Music)
“The performances here would surely have delighted [the original dedicatee]. Overall this is beautifully
refined music-making – sonorous, soulful and sincere.” – Simon Heighes (International Record Review)
26
“The aims of Musica Secreta are of great interest to all musicians, The singing is first-class throughout
the CD: clear, free, compelling, and with nearly impeccable intonation. Indeed, one of the advantages of
freely arranging the music is that it can all be sung at a tessitura that suits the singers on hand: there is
almost none of the pinched, slightly sharp, vibrato-less singing that one often hears in mixed-voice
recordings. This recording is absolutely worth obtaining, for the sake of some really exquisite singing
(not to mention the repertoire itself)” – Sarah MacDonald (The Consort)
“the singing is never less than vivacious and artful. “ - Anna Picard (The Independent on Sunday)
“[The transposition for female voices] works very well. The ladies of Musica Secreta sound beautiful.
Grandi's melodies fall easily on the ear. An enterprising disc well worth hearing” – Richard Lawrence
(Gramophone)
“Technically, aesthetically and tonally many-faceted, and reflecting the major change which marked the
era, Grandi comes across as a powerful composer. A lively and full value interpretation, showing no
weakness in comparison to the original mixed voice conception in terms of the effectiveness of the piece.
With careful transposition, and the instruments filling the bass parts, this altogether succeeds as a
convincing interpretation.” - Matthias Lange (Klassik.com)
“Although considered one of the finest composers of his day, Alessandro Grandi’s music is little known.
This premiere recording of his 16 Motets for Five Voices is very welcome.” - New Classics
“Grandi's music is of excellent quality and shows the features of so much of the sacred music of the
time. Musica Secreta is a very fine ensemble, and the five singers on this disc - Deborah Roberts, Tessa
Bonner, Katharine Hawnt (soprano), Catherine King (mezzo) and Caroline Trevor (contralto) - have very
nice voices which blend excellently. The booklet contains informative programme notes and all the lyrics
with an English translation.” – Johan van Veen (MusicWeb)
“With great care, sensitivity, and musical judgement, the ensemble arranges and transposes the music
so that it matches their vocal resources. An attractive humility and fervent earnestness comes through in
the performances. Word painting is effectively interpreted and the performance and repertoire decisions
are convincing..” - C. Moore (American Record Guide)
“The performances here are clean-cut and shapely... with good recording, especially as heard in the
lossless download, and with the booklet containing texts and translations” - Brian Wilson (MusicWeb
Download Roundup)
25063
Violin Songs
“This is an album of charming music, brought to shimmering life by Madeleine Mitchell’s spirited yet
sensitive virtuosity.” – New Classics
“Madeleine Mitchell’s playing is most appealing. Her tone is sweet and bright, and she and Andrew Ball
are unfailingly sensitive to the nuances and character of each piece. The programme has several
focuses of attention, culminating in a true song (Strauss) featuring a radiant-sounding Elizabeth Watts.” Duncan Druce (Gramophone)
“a beguiling programme…surprising delights. Wonderful lyrical tone, captured in fine sound. Andrew Ball
is a perfectly discreet accompanist. Elizabeth Watts’s divine performance confirms that she is an
exceptional young talent. Overall, an enjoyable disc.” – Christopher Dingle (BBC Music Magazine)
“This CD… merits consideration on several levels. [Mitchell’s] touching sense of inner repose makes a
touching impression… her sensitive musicianship comes as a welcome antidote to the thrusting
lusciousness of other violinists.. her phrasing is quite outstanding. Andrew Ball… is an admirable
accompanist. The recording quality throughout is good. Recommended.” – Robert Matthew-Walker
“Listening to this CD is a delight from start to finish. The title is more than apt as throughout each
carefully prepared piece, Mitchell's violin truly sings and creates that calming and soothing effect which
makes one forget all worldly troubles. Te lovely booklet… is almost worth the price of the CD alone.
Mitchell herself wrote the notes which make fascinating reading. Truly a CD to cherish and treasure,
keep it for a cold evening tucked away by the fireplace and just let it sink in. Utterly magical!” - Gerald
Fenech(ClassicalNet)
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“Mitchell is one of the best things to happen to violin, classical or otherwise. With a tremendous touch
and wonderful style, this is gentle, caressing music that will blow you away. . Simply a great recording.”
– Chris Spector (Midwest Record)
“Most [of these pieces] are rarities and it is delightful to have them here, especially when played with
such warmth and finesse. This is a CD full of small joys, wonderfully played. The sound is close and
warm.” - Tim Homfray (The Strad)
“Madeleine Mitchell’s heart-on-sleeve approach works especially well…If you like your violin miniatures
con espressivo with lashings of vibrato and tasteful portamento then this is the disc for you” -  Julian Haylock (Classic FM Magazine)
“It’s good to see Madeleine Mitchell back in the recording studios. Admirers of Frank Bridge will note the
contents with interest; interest will then turn to outright enthusiasm charmingly done Mitchell’s more
intimate playing brings its own rewards. Throughout Andrew Ball, with whom Mitchell has played as a
duo for so many years, proves a subtle colourist. The Potton Hall recording is warm and naturally
balanced and I like the booklet, which has some imaginative photographic touches.”- Jonathan Woolf
(MusicWeb)
“Mitchell is a performer who delights in taking her “red violins” to schools and other non-specialist
audiences, and these are just the sort of tunes that could be relied on to captivate them. But there is
clearly also a serious musician operating beneath the show-womanship, and there are some unexpected
rarities in the mix. Throughout Andrew Ball provides excellent support.” – Serena Fenwick (Musical
Pointers)
“Madeleine Mitchell has promoted much contemporary music, but now her violin turns wistful and
melodic, wrapped in early 20th-century reveries. The seven charming Frank Bridge selections show her
at her best.” –  Geoff Brown (The Times)
“The violinist applies her highly lyrical technique…and succeeds admirably in recreating the atmosphere
of this bygone era.” - Kevin Bryan ( Mid Sussex Citizen)
25064
“Protégé” - Liszt and Reubke Piano Sonatas
“This is a valuable and enterprising release… to be able to listen to two such fine performances side by
side by a player who obviously possess a strong affinity with this style lends this release a compelling
authority. [The Reubke Sonata]’s importance in the repertoire is not fully appreciated, and such as
recording as this will win it many converts. The CD notes are informative and detailed and the recording
is clean and truthful.” – Robert Costin (MusicWeb)
“He is a remarkably gifted artist… a superb leggiero touch and a beautifully even, silky sound. This
account can hold its own with some of the finest.” – Jeremy Nicholas (Gramophone)
“Anthony Hewitt’s performance is exemplary in all respects. A beautifully presented album which is worth
having just for the Reubke work alone. - Gerald Fenech (ClassicalNet)
“Anthony Hewitt interprets the derivative but compelling [Reubke Sonata] so splendidly here” - Kevin
Bryan (Mid Sussex Citizen etc)
“The young British pianist Anthony Hewitt puts himself firmly on the map… I would certainly recommend
this disc wholeheartedly for the Reubke which receives a magisterial performance. The recorded sound
is excellent” – Nicholas Salway (International Record Review)
25065
Apostle of Ireland
“The four singers give outstanding performances... their voices are quite different in timbre but they
blend perfectly... William Taylor’s improvisations are stylish and never obtrusive and are a delightful
addition. The reverberation of the church is just right. The booklet contains extended programme notes
and all the lyrics with an English translation. A spellbinding recording... for lovers of liturgical music this
is a disc not to be missed.” – Johan van Veen (MusicWeb)
“The singing is clear, crisp and very communicative. Each singer is clearly traveling in the same
direction, on the same journey, as the others are – and as is William Taylor, the harpist. There is a clear
and well maintained sense of purpose in the articulation of each of the texts. The style is relaxed. The
unison singing very beautiful. The recording made with an appropriate amount of intimacy and delicacy
without ever breathing at the listener. The singers of Canty convey a humility and reverence which aptly
28
fits the gentle and assured nature of the music. This CD is a valid and well-executed collection of spare
yet tuneful, melodically inventive and sophisticated music that is sure to please all lovers of early choral
music. The CD comes with an attractively-produced booklet with texts in both Latin and English and a
useful introductory essay. Recommended both for the rarity of repertoire and completely successful
execution.” - Mark Sealey(ClassicalNet)
“a subtle and sensitive recreation of devotional music, meticulously researched, and convincingly
performed. Canty are an ensemble whose voices maintain individual characteristics, while integrating
into a seamlessly unified whole. Their discipline and their ravishing vocal quality make this recording a
welcome moment of calm and devotion in an agitated time.” - Sophie Brumfitt (The Consort)
"This is an out of the way set that rewards the listener looking for a real and deep listening experience
with music that is genuinely from another time and place." - Chris Spector (MidWest Record)
"This is a major addition to the early sacred music repertoire." - Classical Net
“A special disc... we are treated to a loaded program – 38 tracks of music that is probably not heard too
often in its liturgical context. The sound is clear and concise, nicely warmed by the light resonance
surrounding the singers. This is an affectionate tribute well worth the time, especially for chant lovers.” –
Steven Ritter (Audiophile Audition)
25066
To Pan and Syrinx
“These are exemplary performances. The real surprise is the work by Melanie Bonis which should really
be much better known. Highly recommended.” – Robert Bigio (Pan Magazine)
“[Smith] has developed a reputation as one of the UK’s best flute players, and it is clear from this
recording that he is a consummate musician. This is a wonderful disc, both in terms of the repertoire and
the quality of the performance. It is the sort of playing that makes you sit up and listen; the artistry of
these musicians is impressive and demands attention. I can’t wait to hear the duo’s next CD, of British
music.” – Carla Rees (MusicWeb)
“Sprightly but with a sure touch throughout, this is a duo well worth your attention, particularly when you
are in the mood for something different. Well done.” - Chris Spector (Mid West Record)
25067
A Night at the Opera
“This disc is a pure delight from start to finish... it should be one of the piano highlights of the year. [A]
hugely enjoyable disc which is jam packed at just 30 seconds less than 80 minutes long... with the
glorious virtuosity of Anthony Goldstone to round off that perfect experience. This is truly an essential
purchase for lovers of good operatic and piano music.” – Gerald Fenech (ClassicalNet)
“It is puzzling why he does not enjoy a higher public profile. Goldstone’s accounts generally stand up well
to the competition – a buoyant Rigoletto paraphrase, for example, and a keenly detailed and dramatic
Carmen Chamber Fantasy. [A] generously filled disc accompanied by the pianist’s own excellent
booklet.” – Jeremy Nicholas (Gramophone)
“Anthony Goldstone has been at the forefront of imaginative recital and recording programming for many
years. The real bon-bon of the collection is Grünfeld’s Soirée de Vienne; sheer delight from beginning to
end! Lovely music to end a brilliant recording. Anthony Goldstone has produced a gem of a disc with
glorious melodies lovingly adorned by both composers and pianist. The sound is just right for my taste
and the notes (by Goldstone) are rich in both information and enthusiasm.” – David Hackbridge Johnson
(MusicWeb)
“Tony Goldstone rejoices in these cascading miniatures as gloriously inventive and musically satisfying
pieces in their own right... played like this one would think them to be bona fide masterpieces. An
outstanding collection performed with exemplary grace and style.” – Julian Haylock (International Piano)
“His playing is effortless. At the same time it is never glib – he must work very hard indeed to play this
series of finger-busters. This is how this repertory should be played. Bravo, Anthony Goldstone!” –
Raymond S. Tuttle (International Record Review)
“In splendidly assertive sound there can be no mistaking the grand manner. Goldstone delivers some
superbly judged shadowy-misty textures [in the Busoni] – a miracle pulled off with consummate and
evidently natural skill. The Chopin shines in poised finery. The effect is completed with de luxe
production values for the whole package.” – Rob Barnett (Musicweb)
29
“Some stunning paraphrases, transcriptions and variations... absorbing flights of fancy. Goldstone is in
typically impeccable form throughout” – Kevin Bryan (UK Regional Press)
“Several [of the pieces], rarely heard, are especially welcome in Goldstone’s most musical hands. None
are played as mere virtuoso vehicles, though he certainly does not lack the technical ability to wow an
audience. A most likable and satisfying recital. Goldstone knows how to get to the heart of everything he
plays, writes his own entertaining notes, and enjoys excellent sound.” – Becker (American Record
Guide)
“ a dandy solo piano set in which Goldstone serves up a tasty tour de force where he doesn’t just take a
spin through a handful of opera classics, he puts his own spin to them as well. Goldstone proves he can
play anything with such absolute mastery, subtlety and style... a great talent on top of his stride” - Chris
Spector (MidWest Record)
“Anthony Goldstone delights us with A Night at the Opera. This is entertaining stuff. Virtuoso playing is
provided by Goldstone” – Peter Spaull (Liverpool Daily Post)
“[Goldstone’s] talent is evident. I would heartily recommend this CD to lovers of piano music in general
and of opera melodies in particular. Snatch this one up right quick!” - Frank Behrens (New England
Regional Press)
25068
Cello Diverse
“This disc contains some of the finest, and strongest, most purposeful, cello playing I’ve heard in a long
time. Indeed so forthright is the playing, and so intense her interpretations, that I was immediately
reminded of the young Jacqueline du Pré. Ms Beer can stand that extravagant comment for she proves it
with every note she plays .It was a real pleasure to report on this disc for everything about it –
performance, recording etc. – commands our attention. Susanne Beer is a fine artist and we should hear
much more of her.” – Bob Briggs (Musicweb) MUSICWEB RECORDING OF THE MONTH
“Susanne Beer... is a complete musician. I loved this performance and the marvellous contrasts of
sound the cellist makes. Some of her soft playing is so beautiful that it is beyond praise. This is not a
performance but an experience. Her playing is exquisite and lacking in mannerisms. She has a
wonderful capacity to communicate. Her tone is ravishing and she puts the music first. This disc cannot
be recommended highly enough. It conjures up all the best life has to offer.” – David Wright
(Wrightmusic)
“Very interesting and pleasing disc... all in all, this is a thoroughly enjoyable disc from beginning to end” –
Gerald Fenech (ClassicalNet)
“Susanne Beer draws a fine ribbon of sound from her instrument, all the while informing the music with
the most engaging lilt. There’s excellent double stopping here. Brahms’ Sonata is given a model
performance.” – Neville Cohn (Oz Arts Review)
“A tour-de-force program... easily essential listening” – Chris Spector (MidWest Record)
“Beer has a warm, pliable tone that is fully alive to the wit and dynamic shading of Stravinsky’s Suite
Italienne and Debussy sonata”  - Philip Sommerich (Classical Music)
25069
By the River in Spring
“[This CD] is full of good tunes and fine playing, and exemplifies the best in light music, even if two of the
works are titled Sonata. The whole disc is a delight and I cannot imagine anyone willingly being without
it. - Philip Scowcroft (Light Music Society)
“This is an engaging CD that is both well-planned and beautifully played. The two soloists have contrived
an important and interesting programme of British flute and piano music that ought to be in the repertory.
The programme notes are helpful and the sound quality is excellent” – John France (MusicWeb)
“A colourful evocation of Britishness... a recording of considerable interest and sincerity. Kenneth Smith
is capable of wonderfully nuanced tone-colours. He is sympathetically partnered by Paul Rhodes at the
piano. Playing of flawless deportment.” – Mark Tanner (International Record Review)
“An engaging set of romantic music...you can hear the English countryside pouring out of the playing” –
Chris Spector (MidWest Record)
30
“An evocative performance of Harty’s In Ireland... Smith and Rhodes successfully paint a lovely picture
of the title subject {By the River in Spring]. Good performances of charming works” – Em Marshall
(Albion Magazine)
25070
Chopin for Piano Duo
“These Goldstones are on to something. There is nothing but delight in this version [of Chopin’s Second
Piano Concerto], thus expertly performed. A remarkably gifted husband-and-wife team... admirable
musicianship” – Robert Anderson (Music and Vision)
“This disc (which includes six première recordings) rediscovers a very special individual piece of the
[Chopin] jigsaw. Goldstone’s long, detailed but always readable booklet note provides immaculate
documentation. Chopin lovers: please do not hesitate to acquire it” – Stephen Pruslin (International
Record Review)
“A fascinating exploration of rarely heard music played with dazzling virtuosity and verve.” John Pitt (New Classics)
“An ingenious collection... this is fine entertainment” – Peter Spaull (Liverpool Daily Post)
“Presented in fine form by the label’s first class piano duo. A solidly straight ahead set that has
everyone shining in this worthy performance and discovery.” – Chris Spector (MidWest Record)
“The British pair is today counted amongst the world’s premier piano duos. Elegance is instantly
recognisable in the duo’s reading of the Concerto... this arrangement balances poetry with thrills and
colour... and has found the ideal interpreters in Goldstone and Clemmow...{they} know exactly where to
take you with this music.” – Patrick P.L. Lam (MusicWeb)
“Flair, abandon and technical sure-footing.” – Edward Bhesania (International Piano)
“The playing throughout is exuberant... certainly a unique disc.” – Michael Ullmann (Fanfare)
“The recording is very clear. The rendition of the concerto is definitely very stimulating. As for the rest,
the bravura pieces fare best. The liner-note is by Goldstone and is excellent, answering practically every
question one may wish to ask. Overall, this is an interesting disc for those who like to explore the
unknown, and to see the known from new points of view.” - Oleg Ledeniov (MusicWeb)
“Chopin’s familiar Piano Concerto in F minor... is here refreshed in a previously unrecorded version.
There is no scholarly dryness about their playing” – Paul Driver (Sunday Times)
25072
Guido: The Four Seasons
“[Guido] certainly knew how to write attractive music, full of invention and lovely sonorities. If anyone is
tired of Vivaldi’s Four Seasons, and I suspect many will be, then this new disc provides a refreshing
alternative with thrilling playing. The recording made in New College, Oxford, is first rate.” –
TheClassicalReviewer
“Here is a beautiful work, vigorously played by 'The Band of Instruments', a group based in Oxford that
accompanies Caroline Balding who shows herself to be a great violin virtuoso. Giovanni Antonio Guido's
'Four Seasons' might not show the musical richness of Vivaldi's work, but this is nevertheless music
extremely pleasant to listen to, in a fresh and sharp reading by The Band of Instruments.” - Remy Franck
(Pizzicato)
“This is a very fine performance of an attractive composition which is potentially of great significance.
Guido’s composition compares very well with Vivaldi’s in quality: it is varied, attractive, graceful and
colourful. The fascinating background history is outlined in the informative CD flier. Divine Art is to be
commended for bringing to us this little-known music, which is both historically important and beautiful.”
– Elizabeth Rees (The Consort)
“The movements are like miniature tableaux, in which one element blends smoothly with the next. This is
the anti-Vivaldi, a sort of characteristic work that focuses upon the drama rather than the soloist. Director
Roger Hamilton runs a tight ship, with good contrasting tempos, nice phrasing and an ensemble that is
very much in tune. Their performance is well executed and I can find no fault with it... a first-rate
performance of works that really do deserve to be more popular.” – Bertil van Boer (Fanfare)
31
“Four picturesque concertos for string ensemble... some of them are very striking. They’re a whole lot of
fun, and the extremely talented players who make up The Band of Instruments are a pleasure to hear.
Very skilfully played set of fun, vivacious, diverting baroque suites.” – Brian Reinhart (MusicWeb)
“Atmospheric and beautifully written... Guido notably incorporates French elements into the Italianate.
Lead violinist Caroline Balding aside, the ensemble consists of two violins, a cello, contrabass and
harpsichord. According to New Grove Guido's concertos are scored for three violins, flutes, oboes,
harpsichord, viola and cello, which suggests that the Band of Instruments have departed somewhat from
Guido's intentions. Nonetheless, the results are effective and persuasive, suavely directed by Hamilton
from his unobtrusive harpsichord. Sound quality is fairly exemplary - pellucid and spacious, yet still warm
and intimate. Guido’s own memorable account [of The Four Seasons] deserves its own place on playlists
and in recital halls” – Byzantion (Music Web)
“It is refreshing to hear another composer’s take on [The Four Seasons]. A bright, clearly defined
texture... [the ensemble] bring commendable agility, shape and energy to their performances...
demonstrating close empathy with the music’s rhetorical language.” – Robin Stowell (The Strad)
“Guido’s seasons are French Suites with many movements, not Italian violin concertos. The
performances by The Band of Instruments are completely engaging. They have mastery of all the effects
Guido comes up with (chirping birds, marching warriors, laughing Bacchantes, and crashing storms
among them) and they play with energy, imagination, character, and poetry. The recording is a real find
and a grand evening's divertissement. The musicians of The Band of Instruments prove themselves
extremely fine advocates of this inventive music.” - Catherine Moore (American Record Guide)
“Resemblances to Vivaldi ... are never embarrassingly close: I was reminded more of Rameau. Soloist
Caroline Balding is superb, her backing Band of Instruments under director Roger Hamilton wholly
admirable... I foresee much enjoyment.” – Michael Round (International Record Review)
“Example of the descriptive music, exquisitely programmatic, which formed the basis of the ‘galant’ trend
which flowed fully in the Rococo period... capable of arousing the attention of lovers of Baroque
instrumental music. Undoubtedly fine and authentic performance by the violinist Caroline Balding, well
supported by the orchestra.” – Andrea Bedetti (CD Classico)
25073
The Piano at the Ballet
“Goldstone revels in these transcriptions and his playing can only be admired, He has a wonderful ability
to get to the heart of the music. He is a communicator of the highest order. It is a very pleasurable CD,
deserves to find friends, shows us how gifted and dedicated a pianist Goldstone is and we admire and
praise him for music off the beaten track. The sound quality is very good. The picture on the cover is
delightful” – David Wright (Wrightmusic)
“A scintillating recital of colourful miniatures. To hear Goldstone affectionately shaping with effortless
virtuosity his own skilful transcriptions [of Tchaikovsky] has one relishing these timeless phrases afresh.
Exquisite poise and timing… beguiling finesse and tonal subtlety” – Julian Haylock (International Piano)
“Each new release from Anthony Goldstone presents us with something special. If one adds the
pianist’s literate writing and the fine piano sound, this becomes another feather in the cap of a true
keyboard explorer.” – Becker (American Record Guide)
“A generous and very varied selection of music… [Goldstone’s arrangements] are made with great skill
and understanding. Any dance studio [would] be delighted to have a pianist of half this skill. Essentially
an enjoyable recital… it would be hard to be bored by it or finish listening to it other than in a cheerful
mood.” – John Sheppard (MusicWeb)
“Goldstone proves he can play anything with such absolute mastery, subtlety and style... a great talent
on top of his stride. Taking his piano wizardry to familiar themes...each one is such a joy.” – Chris
“Mr Goldstone proves himself a fine arranger... in an amply filled disc, Goldstone delivers up some
remarkably clean and virtuosic playing. Production quality of the first order. Interesting and thorough
program notes along with excellent sound quality make for an outstanding presentation.” – Kevin Sutton
(MusicWeb)
“A series of inventive arrangements... sparkling instrumental fare from one of Britain’s most respected
classical pianists” – Kevin Bryan (UK Regional Press)
25074
Unaccompanied
32
“This is a formidable solo recital from a highly accomplished musician. Voicings are varied subtly and
imaginatively... a small master class in accentuation, dynamic shading and myriad suggestive coloristic
devices – all sounding perfectly natural and unforced. Few attempt the God Save the King so ferocious
are the demands, Wrist-numbing drama, projected with unstinting panache. Adding to the lustre of the
disc is the booklet. When one encounters excellence of this kind its right to acknowledge the fact. So too
the recorded sound and the recital as a whole.” – Jonathan Woolf (MusicWeb) RECORDING OF THE
MONTH
An excellent solo violin recital. The Paganini choices are unusual ones, and confirm this player's
credentials as a top class virtuoso.... the whole is very satisfying.” - Peter Grahame Woolf (Musical
Pointers)
“Zacharias leaves one lost in admiration at his remarkable facility... , this is one of the finest recordings
currently available [of the Bartók]. Zacharias proves especially persuasive in these enormously
demanding opuses, tracing their expressive logic with a probing assuredness that is enormously
compelling. I look forward to his next release with eager anticipation.” - Julian Haylock (International
Record Review)
“In all aspects, the rendition of the music on this disc by George Zacharias is well performed. His
interpretations reflect not only a highly refined technique but also empathy with the essence of the music.
It is well recommended.” – Zane Turner (MusicWeb)
“By any standards this is an outstanding disc debut. Brilliantly played – fellow fiddlers will blanch to hear
him” (Gold Star Recommended CD) – Tully Potter (The Strad)
“The young Greek’s technical acuity... he has sharpened to a sharpness that allows him to indulge in
dramatic gestures... thoroughly mastered the virtuosic effects. Generally squeaky-clean performances” –
Robert Maxham (Fanfare)
25075
Music from Armenia
“I have thoroughly enjoyed being introduced to the music of this fascinating country and am highly
impressed by the wealth of truly gorgeous tunes that have come from there. Stepanian’s Sonata is an
orgy of sumptuous melodies that make it totally irresistible. Gomida’s songs have been skilfully arranged
... the seem to be the perfect vehicles for cello and piano. The duo hoped that they could produce a disc
that would be accessible and appealing to a wide range of listeners. This they have certainly done and
their playing mirrors their commitment to the project for it shows in every note.” – Steve Arloff
(MusicWeb)
“Heather Tuach has a glorious and beautiful tone and, although I have not seen the music, her
performances are attractive and appealing. That Patil Harboyan is a fine pianist is clearly evidenced in
this recording. The sound is exemplary and the booklet notes are excellent. This CD is important and will
give deep satisfying pleasure to all who hear it. A real breath of fresh air and let us have some of the
major works of Stepanian. A CD of real joy!” – David Wright (Wrightmusic)
“I fell quite thoroughly under the spell of the way [Armenian] music spoke to me. All told this is a musical
program to delight ... a pleasing refuge. And the playing is very idiomatic and appropriate.” – Grego
Edwards (Gapplegate Classical Modern Music)
25076
The Piano at the Carnival
“This is a most successful record. This is because Anthony Goldstone takes each piece entirely on its
own merits. I am full of praise for his unusual juxtaposition of repertoire. This is a genuine recital
programme, made more important... for containing three world première recordings. What is particularly
impressive is that the really serious music here all receives excellent performances by this admirable
artist. This is strongly recommended.” – Robert Matthew-Walker (Musical Opinion)
“A challenge that Anthony Goldstone rises to with exhilarating aplomb... athletically virtuoso outbursts...
are thrown off with thrilling abandon. Gloriously uninhibited virtuoso pianism./.. just the right degree of
excited intensity. Bravo!”: - Julian Haylock (International Piano)
“Inspired programming from Divine Art here. [The Khachaturian} is a marvelously managed
transcription... well worth seeking out. [In Carnaval], Goldstone’s pianistic fluency serves him well... [his]
fluid legato is a joy. Goldstone entertains still more in the Liszt... it is easy to revel in the sheer virtuosity
of it all.” – Colin Clarke (Fanfare)
33
“Anthony Goldstone is something of a miracle. He learns quickly and is willing to explore a wide and
often untapped repertoire. Something of an unusual disc but nicely planned and shedding some
fascinating insights on the whole idea of ‘mardi-gras’ for piano solo.” – Gary Higginson (Musicweb)
“An ingenious programme combining the familiar with a clutch of novelties. There is no lack of flair or
finesse in these performances. An enjoyable disc-with-a-difference complemented by the pianist’s own
exemplary booklet.” – Jeremy Nicholas (Gramophone)
“Goldstone is one of the most resourceful pianists currently before the public. He has done wonders...
such gusto and brilliance...fine tonal light and shade... ebullient, admirably buoyant playing that marshals
avalanches of notes with immense flair. “ – Neville Cohn (IOz Arts Review)
“A remarkable box of rare goodies is this, played with stunning virtuosity” – Peter Spaull (Liverpool Daily
Post
“Goldstone proves he can play anything with such absolute mastery, subtlety and style... a great talent
on top of his stride. Taking his piano wizardry to familiar themes...each one is such a joy.” – Chris
25077
Sacred Hearts, Secret Music
“Could be habit forming, but it’s an addiction that is entirely beneficial. The contents of ‘Sacred Hearts
and Secret Music’ are sung with an unpretentious artistry that allows the music to make maximum
impact on the listener. it is a most notable addition to the recorded canon of sacred music” – Neville
Cohn (Oz Arts Review)
“The ornamentation...sounds both natural and beautiful... an aural feast. Magical.” – Richard Lawrence
(Gramophone) EDITORS CHOICE CD – OCTOBER 2009
“’Excellent ensemble.... the CD wins out through pure sound, fervour and refreshing simplicity” – Fiona
Maddocks (The Observer)
“Ethereally beautiful, haunting music, performed with grace and sincerity” – John Pitt (New Classics)
“Sensitively imagined and vividly realized interpretations... remarkably delicate but with a kind of
muscular dignity that is extremely moving” – Robert Levett (International Record Review)
“The effect [in the Mass] is light, lovely, beautifully rendered by six women on the four vocal parts... the
most interesting chant is the sequence for St. Agnes. Altogether, this is an offbeat program of
considerable interest, not exactly comparable to competitive versions of the music.” - J F Weber
(Fanfare)
“It is lovely to hear so many monodic settings for the Feast of St. Agnes, who serves as an inspiration for
nuns; their chants vary from simple plainsong to more elaborate settings... Musica Secreta’s
performance of Palestrina’s Mass Veni Sponsa Christi... is equally beautiful. The Palestrina settings on
this CD are very effective and Musica Secreta amply demonstrates that this music can be performed by
women alone.” – Elizabeth Rees (The Consort)
“This recording will appeal to different people for one or more of a variety of reasons; if you sit back and
listen to some beautiful singing, the {Palestrina Mass] certainly makes the recording very worthwhile. De
Rore’s Magnificat too receives an attractive performance. The beautiful performances of the Holy
Saturday Lamentations..life-enhancing music, designed to lift the soul. The recording is very good, with
great clarity... the presentation is attractive... the notes are informative. This new recording is a worthy
addition to Musica Secreta’s discography and to the catalogue in general.” – Brian Wilson (MusicWeb)
“Made quite an impact to listeners [of the BBC Radio 4 serialisation of the Sacred Hearts novel]... and
immensely relaxing experience from a highly professional group” – Peter Spaull (Liverpool Daily Post)
“Compelling album of music...irresistible, and thanks to the honest-to-goodness sound of the recording
and unaffected music-making, mercifully free from artificial additives. Strongly recommended (5 stars)
– AS (Classic FM Magazine)
“Musica Secreta has a homogenous sound. Individual voices are restrained and integrated into the
whole of the sound.; these are the top principles for the performers. The pieces mostly flow well... the
sound is well structured. Under the competent leadership of Deborah Roberts and Laurie Stras, the
interpretation works well.” – Mathias Lange (Klassik.com)
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“The music is interesting, beautifully sung and well recommended” – Early Music Today
25079
Mahler Symphony 10
“This version for solo piano is as authoritative as any other presentation; engrossing it is, played with
fervour and intelligence... the whole account bristles with intellectual life.” – Paul Driver (The Sunday
Times)
“His transcription is not merely evidence of a familiarity with the Mahlerian idiom; it is infused with a
profound understanding of the importance of this work in the larger context of Mahler’s symphonic
journey. Highly recommended.” - Christopher Abbot (Fanfare)
“Christopher White plays with dedication and great eloquence. Taken as a whole, this is a version of
Mahler’s Tenth that should give even the most ardent Mahlerian pause for thought. White plays with fire
and passion throughout, as he must, and shows great skill in negotiating what must often be very difficult
textural problems. An utterly absorbing release.” – Calum MacDonald (International Record Review)
“They’ve managed to capture the grandeur of this symphonic work for solo piano and keep you riveted...
in this form for a long time you can expect it to stand as the best” – Chris Spector (MidWest Record)
“I heard someone juggling the impossible... White’s athleticism and dexterousness are undeniably
impressive” – Philip Clark (International Piano)
“The first movement... was transcribed by remarkable musician Ronald Stevenson, the others by
Christopher White. The quality of both musicans’ work on the score is consistently high. Christopher
White plays with eminent skill, and he certainly has a remarkable technique. This is a serious project
which deserves attention” – Dominy Clements (MusicWeb)
25080
Russian Piano Music vol. 1 – Shostakovich and Comrades
“The new series of Russian Piano Music from Divine Art begins auspiciously... exceptional examples of
twentieth-century works for piano. A fine reading from Murray McLachlan. McLachlan contributes some
fine perspectives on twentieth century piano music from Russia... a fine introduction to the repertoire.” –
Jim Zychowicz (MusicWeb)
“Eloquent intensity.... McLachlan’s performance of [the Shostakovich 2] is very good indeed...
McLachlan makes his personality felt in his firm delineation and intense lyricism” Performance 
Recording  - Calum MacDonald (BBC Music Magazine)
“A bounty of piano treats… Murray McLachlan’s programme offers a colourful cross-section of
composition by the household names of the era. McLachlan’s idiomatic connection to the works on the
programme is clearly evident as he brings off each with complete authority. The disparate elements of
the [first Shostakovich Sonata] gel thanks to the driving momentum and vigorous brilliance of his
playing.” – Louis Blois (DSCH Journal)
“[McLachlan] continues his musical excavations in fine style... he has Russian music as a prime love and
it shows in his playing. A real find for those that want to expand horizons with a tour guide that loves his
work.” – Chris Spector (MidWest Record)
“A fine demonstration of McLachlan’s virtuosity and stamina. Recommended.” – Peter Grahame Woolf
(Musical Pointers)
“Extremely generously-filled disc is the first of a series... judging from this initial helping, there is much
that one can discover and enjoy. McLachlan plays with intensity and affirmation and his razor-sharp
articulation helps to make a persuasive case for this challenging music. An auspicious start to what
should be a hugely stimulating cycle, with notes and sound which are both first rate.” – Gerald Fenech
(Classical Net)
“An illuminating context [for the two Shostakovich sonatas]. Murray McLachlan plays with tremendous
enthusiasm and conviction... the disc offers considerable pleasures. Those who opt for this release will
be amply rewarded.” – Peter J,. Rabinowitz (Fanfare)
“The romantic Russian music by composers not so familiar in this country is proving well worthwhile, as
is this CD.” – Peter Spaull (Liverpool Daily Post)
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“This is a nice collection of CDs of the Russian piano repertoire... the pieces by Myaskovsky, Stevenson
and Shchedrin – though not at their first recording here – can be considered real rarities.” – Riccardo
Risaliti (Musica)
25081
Russian Piano Music vol. 2 – Vladimir Rebikov
“Divine Art has truly struck gold with this release...simply buy this disc and hear for yourself – Rebikov
was a genius of monumental proportions. As for the performances, Goldstone is a pianist of formidable
technique and astonishing coordination. Not only are both hands in perfect synch, but..he makes the
difficult sound easy without underplaying the drama in so many of these short works. I cannot
recommend this disc highly enough.” – Lynn Rene Bayley (Fanfare)
“Delightful and stylistically varied miniatures. Adventurous British pianist Anthony Goldstone has done
us a favour by discovering these engrossing miniatures and performing them with verve and
understanding.” – Robert Moon (Audiophile Audition)
“I was bowled over by Anthony Goldstone’s consummate artistry and sheer virtuosity in these multi
faceted pieces... Fastidiously detailed notes and fine recordings complement what must be one of the
highlights of piano recordings this year.” – Gerald Fenech (ClassicalNet – joint review of dda25081,
25083 and 25084)
“Here is a revelation. The music on this CD... should really have music lovers sitting up. It is abundantly
original. Pianist Anthony Goldstone’s championship is authoritative and gripping.” – Michael Tumelty
(Glasgow Herald)
“All of Goldstone’s discs are highly satisfying, played with power and conviction.... his solo recordings
are all of immense interest.” – Marius Dawn (Pianist) – A Pianist Recommended Recording
“Rebikov managed often to fuse traditional and experimental harmonies convincingly... to marry,
seemingly paradoxically, remoteness and warmth. Anthony Goldstone is wholeheartedly to be
commended on his playing. He reaches into the heart of the Rebikovian dilemma and produces
performances of intensity and suggestive tonality. And with detailed notes and excellent recorded sound,
this stakes a permanent claim on the listener.” – Jonathan Woolf (MusicWeb)
“Goldstone raises another worthy composer from the dust bin of time and gives him his due. You can
play a lot of musical chicken/egg games here as some of his works predated masters you know yet
seem eerily similar. A great bit of hide and seek for classical enthusiasts that want to dig deeper without
have to go on a scavenger hunt to do so.” – Chris Spector (MidWest Record)
“This Russian Music series has much to commend it for musical explorers. The comprehensive notes
draw you into this unique composer’s world, and he plays all the music with a winning flair.. Warmly
recommended.” – Peter Grahame Woolf (Musical Pointers)
“Anthony Goldstone is one of Britain’s most respected pianists. Despite his considerable achievements he has been called ‘the father of Russian modernism’ - Rebikov has been driven to the margins of
musical history.. . Anthony Goldstone’s formidable playing is technically superb and articulate, revealing
all the passion and colour in this little heard music.” – John Pitt (New Classics)
“This is a most welcome addition to the discography of Russian music for the piano. Enterprising and
adventurous pianist.” – Neville Cohn (Ozarts Review)
“Rebikov was an innovator... all these landmark pieces are included in this album, played with musicality
by Goldstone... enjoyable to listen to and ... very accessible. In short this is a rather valuable premiere of
Rebikov’s music... this is highly recommended.” – JY89484 (Classics Online)
“This is a nice collection of CDs of the Russian piano repertoire... Anthony Goldstone is an interpreter we
can’t overlook. The repertoire he presents is not just special and precious, but also put forward with
remarkable cultural intelligence. Goldstone convinces and charms us” – Riccardo Risaliti (Musica) – joint
review of vols 2-5.
“Anthony Goldstone is clearly an adventurous and technically accomplished pianist, but happily, he also
has the ability to find the rich skein of music in this almost-unknown repertoire. The recordings are very
natural, and catch the nuances of his playing admirably.” – Chris Dench (Thomas’ Music Stores
Newsletter)
36
“Rebikov’s music is quite unlike anything I have heard before: imaginatively designed yet conspicuously
original and searching. [Rebikov’s] neglect is not only unfathomable, but also sinful... his music is
consistently of a high, imaginative, unpretentious order. Goldstone brings out those aforementioned
qualities cogently yet with .. hypnotizing sensibilities. The recording is aptly spacious and the overall
presentation (essay included) is splendid. Enthusiastically recommended.” – David Hollingsworth
(Amazon)
25082
Idylls and Elegies
“This CD... did wonders for my mental health. Jeffreys’s music calmed me and made me feel that I was
in good hands. Anguished thought and feelings are applied with a delicate brush and lose none of their
impact for being invoked with reticence and taste. Toby’s Dreams and Elegy {are] dignified yet
sometimes wry little gems. Jeffreys might not be the most daring composer on the block but there is no
doubting his sincerity and his appeal. I pity any musician so jaded that he or she would be unwilling to
reciprocate.” – Raymond S. Tuttle (International Record Review)
“Mournful, evocative music, definitely stemming from the heart but devoid of any saccharine
sentimentality. Traditional, tonal, solid old-school writing. The instrumentation is keen; Elegy for John
Fry... could stand head-to-head with works in the genre by Elgar and Vaughan Williams. The recording
has lot of body and creates a natural perspective and sense of open space.” – Jean-Yves Duperron
(Classical Music Sentinel)
“[Jeffreys’][Partridge disc was highly enjoyable but in some ways this latest one scores higher because it
presents music in more than one genre by this interesting composer. [Serenade] is a lovely little piece...
This disc continues and expands the favourable impression made on me [by the previous one]. John
Jeffreys is a sincere composer with something to say – and that something is worth hearing, This disc
offers an excellent introduction to his music.” – John Quinn (MusicWeb)
“[Starts] with a recording of Jeffreys’s delightful Serenade for Strings, lively if all too brief. Jeffreys’s
response [ to the Gurney words of Poem for End], as for the rest, is most sensitive, as it is even for his
bold setting of the Lyke Wake Dirge. Excellent baritone, Jonathan Veira, firm and dark in tone. A very
varied collection offered in clear, well-balanced sound.” – Edward Greenfield (Gramophone)
“Under-rated composer John Jeffreys’ orchestral pieces are very much songs without words. The standout work is Poem for End.” – Peter Palmer (Nottingham Post)
“An instinctive fondness for melodic lines and rich contemplative gestures...unmistakable overtones of
Delius and Frank Bridge. [Elegy for John Fry] is a warm and peaceful tribute...Poem for End.. is a
substantial work, beautifully paced and scored. Gentle passions and distinctive craftsmanship.” – Patric
Standford (Music and Vision)
25083
Russian Piano Music vol. 3 - Glière
“Memorable melodies ranging from the virtuosic to the intense to intimate . Anthony Goldstone’s
formidable playing is technically superb and articulate, revealing all the passion and colour in this little
heard music.” – John Pitt (New Classics)
25083 and 25084)
“Expressively varied, cleverly crafted and thematically memorable works. Goldstone has the technique
and the style to perform these works. The composer could hardly wish for a better advocate.
Recommended? But of course.” – Barry Brenesal (Fanfare)
“It is clear from the very first bars that [Goldstone] is totally at ease with both the technical aspect of this
far from simple music but more importantly the idiom of it too. Goldstone’s particular musical skill is the
way in which he pitches these performances so perfectly. [Glière’s] natural gift for melody... makes his
music thoroughly enjoyable. The recording suits the music well.... a most desirable series and one that I
hope to hear more of.” – Nick Barnard (MusicWeb)
37
review of vols 2-5.
“Gliere is a hidden jewel of a composer. Saw this rarity on Amazon and jumped at it. The music is
excellent." - B. Mason (Amazon customer)
25084
Russian Piano Music vol. 4 – Sergei Lyapunov
“Goldstone has proved himself to be one cool cat. If you love classical music with a flourish, this is right
up your alley. With never a dull moment, you’ll fall in love with something you should have heard a long
time ago. Well done.” – Chris Spector (MidWest Record)
25083 and 25084)
“This is an excellent disc and one that should not be missed... Anthony Goldstone proves to be a superb
guide to this unfamiliar repertoire. He has the full measure of it musically as well as technically.
Goldstone provides also an illuminating and enthusiastic liner note – a model of its kind, add an excellent
recording and you will understand my enthusiasm. This is a disc in which all those involved can take
great pride. Revelatory repertoire superbly performed, recorded and beautifully presented.” – Nick
Barnard (MusicWeb) – a MusicWeb Record of the Year 2010
“Chopin himself would relish the conscious attempts to escape the tonality through Lisztian
embellishments. What a tease! Delights galore, with performances matching the recording.” – Bill
Newman (Music & Vision)
“Lyapunov’s works have a breadth and grandness beyond that achieved by Balakirev, and in contrast
with [his mentor] Balakirev’s focussed and melancholy Sonata, Lyapunov’s feels expansive and
rhapsodic. There is another recording of these works (Marco Polo 8223468), but Anthony Goldstone’s is
in every way preferable for insight, virtuosity – at a high level, these works require serious pianism—and
recording quality. Less melancholy than Rachmaninov, more characterful than Medtner, this is music of
poise, elegance and dignity that will provide much listening satisfaction.” – Chris Dench (Thomas’s)
“Anthony Goldstone is no slouch when it comes to performing rare and difficult music. Excellent notes
and sonorous recorded sound.” – Becker (American Record Guide)
review of vols 2-5.
“A praiseworthy enterprise... Anthony Goldstone delivers unrivalled versions of all the pieces that he
records. {He} never stops at technical flamboyance, giving priority to the lyricism and the melody. Superb
disc.. magnificently interpreted.” – Fred Audin (ClassiqueInfo-disque)
“An attractive programme. One wonders why we don’t hear more of this romantic composer? It’s a feast
for piano buffs.” – Peter Spaull (Liverpool Daily Post)
25085
Russian Piano Music vol. 5 – Anton Arensky
“Many of the 38 pieces on this fine CD acquire the status of gems. Salon music in the best sense, such
writing is raised by Anthony Goldstone to a still higher level. Short in length but often sizeable in virtuoso
demands, all this music is played by Goldstone with unflagging musical energy and brio. Admirably
recorded and presented.” – Bryce Morrison (Gramophone) Gramophone gold star recommendation
38
“Goldstone performs all of this music in fine fashion, with a connoisseur’s appreciation for its elaborate
traceries...plenty of color here, and expressiveness that never sounds forced. Sound quality is good.
Divine Art deserves a nod of thanks for bringing this release... back into print” – Barry Brenesal (Fanfare)
“[Arensky’s] music, that includes symphonies, concertos, chamber and instrumental pieces is extremely
well crafted, and a strong melodic vein is a constant feature. The piano works that make up this issue
reveal a master miniaturist. Many of the pieces last just over a minute, but their idiomatic timbre and
graceful subtlety make them highly attractive creations. As in the previous recordings, Anthony
Goldstone's love for this music is all too apparent, and his advocacy for these Arensky gems is
splendidly accurate and spontaneous. That emotional touch is not amiss either. This is an exciting and
wonderful conclusion to an innovative series” – Gerald Fenech (Classical Net)
“Rock solid technique... totally attuned to both the core style of the repertoire and equally at ease with
one-minute bon-bons or large-scale sonatas. This empathy extends beyond the performances to include
some of the most interesting and best written performer liner notes that I have read. Ravishing filigree
writing, that Goldstone plays with artless ease and the subtlest rubato – this really is a masterclass in the
playing of this style of music. A superb conclusion to a triumphant series of discs in which Mr
Goldstone can take enormous pride. Bravo!” – Nick Barnard (MusicWeb)
“[Arensky’s] music is enjoyable, well crafted, melodic and not without charm... there is much that is very
beautiful and nothing falls short of elegant.. [Goldstone] is dramatic and modern in sound. Goldstone is a
wonderful interpreter and people enamored of the piano will be considerably poorer if they do not invest
in this.” – Becker (American Record Guide)
review of vols 2-5.
25086
Inspiration
“A lovely tribute to Goldstone’s beloved teacher. Goldstone’s playing is all one could ask for – sensitive,
well-shaped, feelingful and effortlessly virtuosic. He is playing a marvellous piano.. all recorded
magnificently. Strongly recommended LLLLL” – Scott Morrison (Amazon)
“Goldstone infused each piece in this wide-ranging recital with an almost choreographic sense of its
expressive (as well as structural) potentialities and continuity. Typically Goldstone uncovers some
rarities along the way. Highly recommended.” – Julian Haylock (International Piano)
“Goldstone is an artist of real substance. I was not convinced by the idea of this collection to begin with,
but ended up being won over by the combination of Goldstone’s artistry, imaginative programming, and
the rare distinction of Curcio’s own playing. Recommended.” - Boyd Pomeroy (Fanfare)
“The works are all connected to [Maria] Curcio. The programming is effective, in any case, irrespective
of its source of inspiration. [The Liszt] is played with élan... A mature reading of Chopin’s Polonaise. [In
the Casella,] the characterisation is strong, faster and slower variations are well handled and the music
is stirring. Goldstone measures and calibrates ... Villia-Lobos’s Choro no. 5 with precision. To finish with
there is a bonus track which features Curcio herself, playing marvellously... It ends the recital on a
poignant yet uplifting note.” – Jonathan Woolf (MusicWeb)
25087
John Ellis: Music for Organ, vol. 2
“[This disc attests] to the composer’s skill and subtle originality. Although broadly tonal the music shows
considerable variety harmonically, ranging from the modally expressive to the quartal piquancy of
Hindemith. Modulations happen by sleight of hand; the pivot chords provoke marvel, whilst melodies are
plastic, limpid and show the influence of plainsong. Extensive and authoritative notes...fine instrument.
The Organ Symphony... is surely one of the best organ works of recent decades. John Ellis has found a
marvellous champion of his work in Robin Walker... playing is first rate. [The recording] is
excellent...lovers of organ music should not hesitate. I look forward to hearing more of John Ellis’ work in
the future” – David Hackbridge Johnson (MusicWeb)
“Without a doubt [the organ Symphony] is John Ellis’s masterwork and the more I have heard it the more
it surprises and amazes me. Any organist interesting in something new and challenging should track it
39
down. Robin Walker is a marvellous advocate... he handles the instrument superbly. The accompanying
booklet is a model of its kind. It possesses succinct but useful comments on the music as well as
biographies of both the composer and performer.” - Gary Higginson (MusicWeb)
“The music has a distinctive, pleasantly astringent, quality... the organ sounded well... and Robin Walker
is a convincing advocate, both of the organ and the music.” – Relf Clark (Choir & Organ)
25088
J S Bach Organ Music
“In this recital you get some gems... recognisably crafted with extraordinary and humble genius. A fine
meeting of instrument and performer. I’ve had hours of pleasure from this CD already and there are
many more to come.” – Andrew Mellor (Classic FM Magazine)
“This is, unequivocally, one of the most enjoyable Bach recordings to come my way recently. Hamilton
and the Frobenius ... are perfectly attuned to the repertoire: a Bachian journey of pure, almost chamber
intimacy.” - Graeme Kay (Choir & Organ)
“The performer[‘s] attention to detail and nuance, especially in the ornamentation, makes listening most
enjoyable. The disc offers excellent value and is one to which I shall return.” – John Collins (The
Consort)
“[Hamilton] is a very fine advocate for this music. {His} tempos are spot-on... all in all Hamilton proved to
be a very fine guide, one who highlights the intricacies of these works, often illuminating them in new
ways. For a truly enjoyable experience of some great Bach organ works, this recording is as wonderful
for novices as for experts.” – Scott Noriega (Fanfare)
“What an impressive little instrument this is... extremely well balanced in its voicing, and every stop... is
designed and built in perfect proportion to each other. A bright, clean, direct and focused power where
each and every note of a chord comes through nice and clear... well captured by the Divine Art
recording. David Hamilton uses the organ’s attributes and acoustics to his advantage, and delivers a
crisp, focused and finely registered account of all these pieces, This new recording should rest nicely at
the top of the heap.” – Jean-Yves Duperron (Classical Music Sentinel)
“This beautifully recorded CD shows David Hamilton in his element... one of the most exquisite sounding
organs I have heard of late. I could not stop playing [it] over and over again. Hamilton uses the Kirk
organ’s tonal palette quite magically and Divine Art’s recording is admirable in its clarity. Hamilton is the
real deal if you want to listen to a truly original Bach recital. Most strongly recommended.” – Gerald
Fenech (Classical Net)
“David Hamilton is clearly a fine organist, but there's no doubt that the instrument is the real star of this
disc... what this organ lacks in power it makes up for in the precision of the sound and the subtle
combinations of the tone colours. Hamilton is quite conservative in his use of ornaments and his rubato
is either non-existent or so subtle as to be imperceptible. The result is a series of very clean
interpretations, an approach ideally matched to the tone and scale of the instrument. The sound quality is
good, and it seems that the organ and the acoustic are ideally matched. An enjoyable disc then, and not
your usual Bach greatest hits.” – Gavin Dixon (MusicWeb)
“This gets into the Christmas supplement by virtue of its overall excellence - if you're looking for a singledisc introduction to JSB’s organ music, this could well be it” – Brian Wilson (MusicWeb Download
Roundup)
“Hamilton feels a natural affinity for the music of Baroque composers such as Bach and this crisply
crafted offering serves up a varied and representative selection of the great man’s organ works, taking
advantage of the naturally warm acoustic that this Danish designed instrument offers to the skilled
practitioner.” - Kevin Bryan (UK regional press)
“Start with Bach and organ, add a cat that knows and loves both and let the fun begin. Well done and
tasty.” – Chris Spector (MidWest Record)
25089
The Jazz Age
40
"All sorts of unusual things... particularly impressive... a delightful new record" - Rob Cowan (BBC Radio
3)
“What an excellent idea, and what fine execution. And not only these two qualities, but a third one too –
real listening pleasure. This is a sparkling and vivacious disc, marvellously played.” – Jonathan Woolf
(MusicWeb)
“The performances by [Anthony] Goldstone and his wife, Caroline Clemmow, are absolutely “right” in
terms of rhythmic feeling and musical nuance. Yet more importantly, this recording says a lot—but
not all—about the early cross-pollination of classical music and jazz, a crossbreed that flourished
sporadically, almost spastically, one might say, over the next century. The particular arrangements [of
the last two items] are highly inventive and sparkling. Overall, a highly recommended disc.” - Lynn
René Bayley (Fanfare)
“Maybe the first two-piano album devoted to jazzy-sounding works. The... works are of great interest,
and the special arrangements that close out the program are a total delight.” – John Sunier (Audiophile
Audition)
“I am such an admirer of the duo piano recordings of Anthony Goldstone and Caroline Clemmow. What
a treat! [I] was delighted to see the works contained [on this CD]. Much recommended to one and all” –
Frank Behrens (New England Regional Press)
“It is easy to recommend this unique disc that shows the widespread ... influence of jazz on world music,
and that contains several world premiere recordings. For many the Milhaud alone would make it worth
acquiring.” – Michael Ullman (Fanfare)
“Confident... rewarding listening” – Roger Thomas (Jazz UK)
“Some super pleaser material but a varied program... listening that takes you back a century or so ... but
sounds modern as well. Expertly played and a gasser to listen to. Well done.” – Chris Spector (Mid West
Record)
“Jaunty jazzy studies and sonatas get a new lease of life in this engaging selection” - Stephen Pritchard
(the Guardian)
25090
Rainlight
“The experiment (to mix and match different styles and epochs) succeeded. The classical works and the
pieces by Alicia Grant set each other off nicely. I did not feel the urge to skip anything even on repeated
listening, The music by Grant is beautiful and evocative, and I found the entire concept of the album
interesting.” – Oleg Ledeniov (MusicWeb)
25091
Venice in Mexico
“The two concerti by Facco are as attractive as many by Vivaldi and Corelli. Played with delicacy and
fluency... delightful virtuosity. The soloists are excellent. Plenty to enjoy on this CD... a hint of how
th
European music might have been interpreted in the New World in the 18 century.” – Elizabeth Rees
(The Consort)
“The ensemble blends and balances well, playing with a nice style and spirit. The finest playing here is in
the two concertos for sopranino recorder. The color is varied and rich and the virtuoso playing delightful
to hear.” – C. Moore (American Record Guide)
“Based on these two concertos, Facco makes Vivaldi sound almost stale... so vigorous, so high-spirited
and so infectious,,, the Mexican players and their performances on this disc are outstanding. I thoroughly
enjoyed this disc and recommend it” – Jerry Dubins (Fanfare)
“Mexican Baroque Orchestra doesn’t need gimmicks. [They] carry the day with the verve and accuracy
of their playing. The MBO”s enthusiasm for the pieces on this CD translates into a combination of
melodic interest and rhythmic drive that makes the CD enjoyable throughout. The star of this CD is
Miguel Lawrence playing recorder. Lawrence turns the recorder into something magical, a unique voice
that it would be shameful to replace with a flute or piccolo. In short, [this] is a release of which Divine Art
should be proud.” – Ed Barna (Rutland Herald)
25092
Music by John Rose
41
“This new recording may well be your cup of tea. Pianist Robert Melling and the Edinburgh Quartet
mirror the music’s clear intent and deliver a focused account.” – Jean-Yves Duperron (Classical Music
Sentinel)
“This is a generously timed and attractively presented CD. The ‘Essay on DSCH’ is sonorous and gritty
by turns, extremely well written for the piano in a style that will evoke Tippett in some listeners’ minds. It
is a compelling work to which one wants to return. As for the performances, Robert Melling plays all
three [piano] works with what appears to be total mastery and conviction. [The First Quartet] confirms
the impression of a composer of great seriousness, uninterested in surface glamour and who expects his
listeners to work at the music. Both [quartets] receive fine performances from the Edinburgh Quartet.
This is a fine disc of uncompromising music from a little known composer. I recommend it to all those
who like to stray from the beaten track.” - William Hedley (MusicWeb)
“All the works on this disc are substantial and repay careful listening. Well worth investigating.” – Jeremy
Marchant (Fanfare)
25093
Tchaikovsky Transcriptions vol. 1
“A revelation from start to finish ... the piano version of [Marche slave] is a staggering conception.
Renditions are imbued with a high dose of exciting pianism but the lyrical quality of the music is dealt
with gentle finesse and subtle expressiveness. Sound and Balance are first-rate.” – Gerald Fenech
(Classical Net)
“[Goldstone] delivers as rousing and scenic a version as 80 orchestral musicians. The only thing missing
is cymbals on his feet. This level of musicianship makes the orchestra redundant. Highly recommended
to all pianophiles and Tchaikovsky fans alike.” – Jean-Yves Duperron (Classical Music Sentinel)
“An underrated musician with an unrivalled pedigree... thumpingly effective.. a magnificent account of the
Serenade for Strings which completely defies expectations and comes brilliantly and sonorously to life in
the hands of this consummate expert and masterly technician.” – Michael Tumelty (The Herald Scotland)
“One has to compliment [Goldstone] on recording all this music with the necessary virtuosity and
enormous stamina which is required. A musicological exercise – and a very good one...this pianist’s
remarkable recorded legacy ... will maintain his presence in catalogues of the distant future.” – Peter
Graham Woolf (Musical Pointers)
“It is fascinating to hear familiar music in this guise because it enables the attentive listener to
concentrate on the inner workings of this music, and thereby acquire a deeper understanding of
Tchaikovsky’s genius. The results are musically outstanding.” () – Alexander Leonard
(Musical Opinion)
“No one should easily pass up the chance to hear Goldstone’s insouciant virtuosity. {He brings] cultured
and cultivated tonal qualities... playfulness too, conjured with a sense of breadth and tonal imagination,
and warm phrasing. These qualities are reinforced by the excellent recording and good notes.” –
Jonathan Woolf (MusicWeb)
“Exhilaration not just of the music itself ... but of defiant medium-crossing. Creating stringiness on an
essentially percussive instrument brings an added zest.” – Paul Driver (Sunday Times)
“Goldstone makes his bravura mark from the outset .. luminous keyboard sound, and his polyphony quite
sweeps us along to the end ... a fascinating excursion into Tchaikovsky.” – Gary Lemco (Audiophile
Audition)
“Anthony Goldstone is unofficially something like the U.K. professor emeritus of piano. After a successful
concert career which included a letter of thanks and praise from Benjamin Britten himself, Goldstone has
settled in to spend the past few years arranging, transcribing, completing, discovering and otherwise
generating new works for the piano repertoire, then recording them for the Divine Art label. Aficionados
and connoisseurs will enjoy a great deal, especially thanks to Goldstone’s sympathetic pianism and his
ability to deploy considerable virtuosity when necessary. The two transcriptions by Anthony Goldstone
himself with Max Lippold are the most successful ... both exceptionally good.” – Brian Reinhart
(MusicWeb)
“Tchaikovsky's orchestral music, not unlike Rachmaninov's, lends itself wonderfully to piano
transcriptions and paraphrases—magnificently colourful and contoured, immaculately graded and given
to long-breathed gestures, which push ever forward in intensity to reach climaxes of enormous power
42
and grandeur. Much of the composer's romantic essence finds its way into piano versions and I can
quite see why Anthony Goldstone has turned his attention, first to the orchestral and operatic music, and
in the next instalment to the ballet music. The disc overall emerges as a creditable project, no doubt
distracting Goldstone for some considerable time, not least in contributing to two of the four excellent
transcriptions and in the writing of full, detailed booklet notes. His efforts are complemented by a warm,
well-captured sound from Divine Art—I look forward to hearing Goldstone's second instalment featuring
Tchaikovsky's ballet music.” - Mark Tanner (International Record Review)
“Goldstone plays them all [the pieces] with great fluency and panache” – Andrew Clements (The
Guardian)
“I love to hear [piano versions] for a better look at the inner structure ... these selections are all
wonderful.” – Frank Behrens (Art Times Journal)
“Anthony Goldstone has always provided me with the greatest of pleasure by the consistency of his
interpretations. He delights in the unusual in his choice of material and this is no exception.” - Bill
Newman (Daily Classical Music)
25094
Madrigali
“A luminous collection, the showpiece is Now Sleeps the Crimson Petal by Paul Mealor... an impressive
choral work that superbly combines the clean and open harmonies of the Renaissance with the more
distant harmonic intervals of today. The blend of voices is in perfect equilibrium. The sound recording...
wraps you in a warm blanket of sound.” – Jean-Yves Duperron (Classical Music Sentinel)
“This disc presents a very imaginative approach... obviously there is no competition in this sort of recital
and the singing by the choir is always perfectly tuned and beautifully recorded.” – Paul Corfield Godfrey
(MusicWeb)
“This is a must for anyone relishing the choral expression of passionate poetry across the ages.” – Peter
Palmer (Nottingham Post)
“A golden blend of a cappella repertoire both ancient and modern. Juicy atmospherics. Rating **** ” –
Kenneth Walton (The Scotsman)
“This is a fascinating collection of madrigals from various eras. Con Anima’s careful execution of each
piece seems to add character. The engineers at Divine Art have done well in making you feel as though
you are in a small hall listening to this wonderful choir.” – Maria Nockin (Fanfare)
“Madrigali is a rewarding work. Rewarding but not easy to perform. Lauridsen’s style is quickly
recognizable: richly consonant chords occasionally spiced with mild dissonances. Mealor’s writing is
fundamentally conservative [but his] use of micropolyphony ... is not far from Ligeti. A very good
performance by any standard.” – Raymond S. Tuttle (International Record Review)
25095
Russian Piano Music vol. 6 (Rachmaninov)
“Interesting in many ways... that they are performed by a Russian pianist somehow adds extra Russian
taste. Mr Dukachev [has] trademark Russian pianistic technique – steely tone, masculine power and
glitzy virtuosity... meticulous attention to the structural elements of the music. Music lovers may well
wish to put [this] on their CD shelves” – Danny Kim-Nam Hui (ConcertoNet – joint review with 25096)
“[This series is] intriguing us certainly, and perhaps edifying us also. Rachmaninov characteristically lets
rip with much whizz-bang pianism. Dukachev shares with [the composer] both a first name and a
comparably enviable technique.” – Robert Anderson (Music and Vision)
25096
Russian Piano Music vol. 7 (Prokofiev)
“A far reaching overview of Prokofiev’s output. Pianist Sergei Dukachev finds the Russianism within
each work and places it front and center, His playing is constantly at the music’s service. If you are
looking for an all-in-one neat little package of the piano works of Prokofiev, you can’t do much better
than this.” – Jean-Yves Duperron (Classical Music Sentinel)
“Interesting in many ways... that they are performed by a Russian pianist somehow adds extra Russian
taste. Mr Dukachev [has] trademark Russian pianistic technique – steely tone, masculine power and
glitzy virtuosity... meticulous attention to the structural elements of the music. Music lovers may well
wish to put [this] on their CD shelves” – Danny Kim-Nam Hui (ConcertoNet – joint review with 25095)
43
“[The works on this disc] make a splendid coupling, and I admired the virility and poetry couched in
superlative ambience.” - Bill Newman (Daily Classical Music)
25097
The Art of Fugue
“This riveting, intelligently thought-through reading by the talented Diana Boyle includes the fourteen
Contrapuncti and the Inversus sections of Contrapuncti 12 and 13, but not the optional Canons. Lovers
of Bach’s keyboard music will find it competitive.” - Barry Forshaw (North London News)
“Absolutely compelling. This is musical architecture at its highest, and Diana Boyle reads it very
personally and with profound feeling and sincerity, while at the same time faithfully conserving the
music’s universal quality. It is one of the most exciting and technically excellent interpretations I know.” –
Nigel McG (Amazon)
“Any listener who has become fascinated by {this work] is likely to want a selection which can be enjoyed
in different ways. It is good to hear a performance that is above all determined to capture the changing
musical character of the work rather than simply to demonstrate the complexity and ingenuity of the fugal
writing. I must note that Ms Boyle produces some very beautiful sounds and textures, and her speeds
are well chosen. It may indeed appeal to anyone who has been put off the music previously because of
its reputation or unsympathetic performances. I cannot deny the beauty and character that is given to the
music - rather than extracted from it. At the right time and in the right mood you may find this irresistible
– I can see it becoming a cult version in some circles.” – John Sheppard (MusicWeb)
“Diana Boyle’s recording of Bach’s Art of Fugue is extraordinarily wonderful...also shocking, revelatory.
More than anything, I had the feeling of history flowing backwards, as if Bach’s music had been waiting
for later musical evolution to reveal its hidden nature. Her playing seems not so much an art of
interpretation as a new creation. The tone is bell-like and magnificent. Her colouring and voicing is
phenomenal both in conception and execution. Once in a while something comes along that reconnects
me with the ‘absolute’ power and value of certain music and the art of bringing it to life, and this was one
of them.” - Robin Ireland (of The Lindsays)
“Boyle plays ... in a slow, lyrical manner closer in feeling to the French Impressionists ... genial, relaxed
approach. Overall her performances have a relaxing, hypnotic, almost Zen feeling about them. I find
myself completely engrossed in Boyle’s playing.” – Lynn Rene Bayley (Fanfare)
“Pianist Diana Boyle well understands Bach’s sixteen Contrapuncti which step by step created The Art of
Fugue as music beyond belief. She has made a very good performance and understands the nature of
the music, but most of all, she is genuine.” – George Balcombe (Music and Vision)
25098
Hans Gál Complete Piano Duos
“Sheer joy ... delightful music whose time has come; put it high on your piano recordings to buy list.” –
Peter Grahame Woolf (Musical Pointers)
“As with everything to come from Goldstone and Clemmow over the past several years, this is a
marvellous release. It is full of new music performed and recorded to the highest standards.” –
Harrington (American Record Guide)
“I am generally so fond of Anthony Goldstone’s playing, whether as soloist or as here in duet with his
wife, Caroline Clemmow, that I enjoy reviewing every disc I can get my hands on. They do not disappoint
here, giving us the warm, lyrical and ever-so-slightly modern, but mostly tonal, works of Hans Gal. There
is nothing the least bit pretentious, overdone or underdone in their performances ... they simply give one
the music. Would that the classical world had more artists of this caliber” – Lynn Rene Bayley (Fanfare)
“No one needs to be reminded of what a very fine duo Goldstone and Clemmow are… they are in the
best in the UK and probably the best internationally. This CD is no exception as to quality. Their
performances are so convincing, highly polished and show a maturity not hampered by fussiness. They
make the music speak and often sing. Their touch and tone is impeccable and the sound is choice.
There is admirable subtlety in their playing ... and the clarity of the playing is quite superb! I hope young
pianists will take note of the excellent and indispensable example that these two fine musicians give.
This is a real find.” – David Wright (Wrightmusic)
“It is with particular pleasure that I welcome this outstanding new recording. The performances are
uniformly admirable, and this important issue is a most welcome addition to the catalogue.”  –
Robert Matthew-Walker (Musical Opinion)
44
“Very welcome [reissue] and if you missed it first time around, now is your chance...for the most part this
is Gál in unbuttoned mood, and a source of great entertainment and vitality.” – Jonathan Woolf
(MusicWeb)
“More superb teamwork, this time in the service of Hans Gál (1890-1987). His genial music is
reminiscent of Poulenc without the enlivening cheeky humour.” Performance  Recording
 Daniel Jaffé (BBC Music Magazine)
“Played with their customary skill by Anthony Goldstone and Caroline Clemmow” – Robert Anderson
(Daily Classical Music)
25099
Terzetti
“A lovely CD. The performers are all well-known and deservedly admired. They bring to this music
commitment and style, and in the Bax a glowing beauty. Much to commend this CD.” – David Wright
(Wrightmusic)
“A lovely disc which may prove revelatory to some. I found it very rewarding... recommended.” – Peter
Grahame Woolf (Musical Pointers)
“A classical record like they used to make, when they put the music first. The group plays like a dream,
making this a top notch audio getaway. A winner throughout.” – Chris Spector (MidWest Record)
“Even the most cursory hearing of the works on this CD reveals a great potential for richness of musical
colour and tone. Much of this music is impressionistic and numinous in mood... the playing is excellent
and all three soloists respond to each other sympathetically. A great CD.” – John France (MusicWeb)
“The music on this CD is finely contrasted. – a beautifully balanced CD.” – Bill Newman (Daily Classical
Music)
“[The Dubois Terzettino] is an enthralling, romantic work, it provides a luminous finale for this exquisite
compact disc. The Debussy Ensemble plays each piece with voluptuous dynamics and expressive
phrasing. The sound is warm and well balanced.” – Maria Nockin (Fanfare)
“A thoughtfully constructed programme” – Mark Pullinger (International Record Review)
“The combination of flute and harp can be very evocative... The Ravel Sonatine on this Divine Art ...
sounds little short of the power of its better known sister piece. All the other music is well worth hearing,
too. I found this album to be attractive late-night listening. Over speakers at a moderate volume I thought
the performances sensitive without being over-sugary and that the lossless recording serves the players
well.” - Brian Wilson (Music Web Download Roundup)
25100
Russian Piano Music vol. 8 – Mussorgsky
“Divine Art move forward with their fine overview of Russian Piano Music. Anthony Goldstone is not just
any pianist, and he still finds many new things to say within this old warhorse (“Pictures at an
Exhibition”). Another fine addition to the series, which like its predecessors, does a good job of capturing
the essence of the composer in one snapshot. It’s like receiving a picture postcard from Russia.” – JeanYves Duperron (Classical Music Sentinel)
“Another fine and valuable addition to this excellent series. In every respect i[this CD] is up to the high
standard of the earlier releases and matches them in the quality of the engineering, production,
programming and above all the performance of pianist Anthony Goldstone. The consistent quality of his
music making is both a wonder and a delight. A piano in superb condition evenly voiced... richly recorded
with plenty of detail but set in a pleasing acoustic. The quality of the performance and presentation here
is ideal. For a single disc survey I find it hard to believe the disc will be easily beaten.” – Nick Barnard
(Music Web)
“Possibly the most important recording in Anthony Goldstone’s series. There is no let-down ... an
essential purchase for Mussorgsky enthusiasts. A worthy addition to an important series, strongly
recommended.” – Peter Grahame Woolf (Musical Pointers)
45
“[Divine Art] is lucky to have under contract pianist Anthony Goldstone. At last, a “Pictures” as the
composer intended it. I must especially praise the program notes by the pianist for the detailed insight
into the music.” – Frank Behrens (Brattleboro Reformer)
For good value Goldstone gives earlier versions of three representative ‘pictures’. In Goldstone’s
performance the ‘Great Gate’ and its peal of bells have a massive solidity.” – Robert Anderson (Music
and Vision)
“Goldstone’s excellent series is dominated by the manuscript version of Mussorgsky’s magnum opus for
piano... [the composer’s work has a] strikingly novel quality.” – Kevin Bryan (Halesowen News)
25101
Delicias – Spanish Delights for Piano Duo
“Pieces of coruscating brilliance. Joyous recital” – Robert Anderson (Music & Vision)
“Two excellent individual pianists who work so well together that they truly do play as one. This is a CD
that you actually want to listen to over and over again. You’ll want to sit down with your headphones on
and experience how really wonderful this disc is.” – Suzanne Torrey (ConcertoNet)
“I must label this delightful in every way...fabulously performed... the performance makes you forget that
you are listening to two pianists. [A] most entertaining release.” – Harrington (American Record Guide)
“They’re at their brilliant best... these performances are never less than richly experienced and
musicianly and Divine Art’s sound is admirably clear, leaving you to wonder what this admirable duo still
have up their sleeves and their fingers.” – Bryce Morrison (Gramophone)
“Here is one brilliant idea: collect approximately 75 minutes of highly accessible music... and have one of
today’s best piano duos record it. That pretty much sums up Delicias. The performances are superb ...
their playing has a unity of purpose. It is particularly impressive how the pianists treat all the scores with
respect and manage to avoid ever sounding cheesy. The engineering is excellent, as are Goldstone’s
informative notes. Enthusiastically recommended.” – Radu A. Lelutiu (Fanfare)
“Surely there is no more entertaining or exploratory a piano duo in the world today than Goldstone &
Clemmow. [They] have undertaken a recording programme that is throwing up many more first
performances, arrangements and novelties than ever before. I’ve enjoyed this disc immensely... when
the playing and recording are as good as this, I don’t think you could possibly complain.” – Jonathan
Woolf (MusicWeb)
“This is an aptly named CD... intended to instil a sense of delight in the listener. Divine Art’s engineers
have contrived to present the pianists in an acoustic that is warm and resonant, albeit with no loss of
detail. ‘Delicias’ is a more refined treat, more savoury than sweet. Goldstone and Clemmow don’t miss
a trick and the playing ... is precise without becoming pedantic. There is abundant colour in their pianism
too. Outstanding pianism” – Raymond C. Tuttle (International Record Review) IRR OUTSTANDING CD
“The arrangements – some lovingly done by the composers themselves – and playing are both so
spirited and accomplished that I’m entirely won over. A most enjoyable musical tour of Spain, very
attractively and very stereophonically recorded as well.” – Lee Passarella (Audiophile Audition)
25102
Trio Anima Mundi
“As to chamber music this has to be the CD of the year and, perhaps, many years to come. It is a
delightful double disc of unusual piano trios, beautifully played and very well recorded. The playing ... is
sumptuous; the texture superb; the balance impeccable and we are in the presence of three amazing
musicians. They are not out to be showmen but to be faithful to the music which they are. This is the
chamber music disc of the year. You will lose out if you do not buy it. I cannot recommend it highly
enough.” – David Wright (Wrightmusic)
“This new disc has something of an international flavour with composers from Britain, Australia, France
and Sweden. There is playing of much warmth and understanding from the Trio Anima Mundi…
terrifically fine playing. This is a fascinating and rewarding disc… The recording is excellent. There are
informative booklet notes by the trio’s pianist, Kenji Fujimura.” – TheClassicalReviewer
46
“William Hurlstone’s Trio … as memorable and perfectly proportioned as anything by Brahms. I eagerly
await … future albums, meanwhile strongly recommending this release to lovers of fine playing and
unjustly neglected repertoire.” – Michael Round (International Record Review)
“Here is a highly attractive quartet of early 20th-century piano trios, all written in a Romantic vein, by
little-known composers from four countries: England, Australia, France, and Sweden. Individually [the
instrumentalists] are all highly accomplished artists; collectively they make a tightly-knit and musically
unified team. Brockman's cello playing in particular I find mesmerizing; it reminds me of Jacqueline du
Pré for her big, swashbuckling sound and passionate intensity. The acoustic setting is full and spacious,
and serves the musicians well as they all have highly appealing sounds. Whether or not you are on the
lookout for something new and different, this release is a top recommendation.” - Robert Markow
(Fanfare)
“Consistently expert performances do everything full justice. A delightfully instructive release.” – R.J.
Stove (Limelight)
“This CD explores four pieces of music by a diverse group of composers. The quality of their music is
impressive ... Max d’Ollone’s Trio in A minor is one of the best works in this genre that I have heard. The
presentation of this disc is ideal. The sound quality is excellent. I enjoyed the committed playing and
consider that Trio Anima Mundi truly responds to this ‘romantic’ music; they are in their element.” – John
France (MusicWeb) A MUSICWEB RECORDING OF THE YEAR 2013
“Four magnificent trios ... interesting, accessible and best of all performed by our own local musicians.” –
Kate Rockstrom (Readings Bookstores, Australia) READINGS CD OF THE MONTH JANUARY 2014
“The performance here is a convincing one with a generally warm and lyrical reading ... a version that I
am happy to recommend.” – Em Marshall-Luck (Albion)
“Divine Art deserves praise for this release. [d’Ollone’s] Trio is a late-Romantic and avant-garde work
with harmonic boldness and rhythmic finesse. Wirén’s Piano Trio No. 1 is an original work full of vitality
and sassy harmony. The works are exciting and should ensure the spotlight is turned onto these
composers and performers.” – Repertoire: XXXXX Sound XXXXInterpretation XXX
Isabel Fedrizzi (Ensemble)
“The tone is excellent, and the interpretations bring out the freshness of the works. I am pleased that this
ensemble chose to release a fine recording of neglected works rather than another average recording of
familiar ones.” - Greg Pagel (American Record Guide)
25104
Magical Places
“Playing of astonishing brilliance from Anthony Goldstone and Caroline Clemmow ... Britain’s premiere
piano duo. It is because of the sensitivity and brilliance of Goldstone & Clemmow’s playing that these
transcriptions work so well in their new guise. This is a beautifully produced disc with excellent notes by
Anthony Goldstone which I thoroughly recommend.” – “The Classical Reviewer”
“These two pianists shape and mold the piano transcriptions so well as to deliver interpretations that are
just as effective [as the orchestral originals]. Not even a smidgen of the essence of these pieces is lost in
the transcriptions, mostly due to the emotive edge these two musicians bring to the table.” – Jean-Yves
Duperron (Classical Music Sentinel)
“Another disc of the highest quality from the brilliant piano duet team... superb and often rare music,
played with great technical accomplishment and musical insight. They’re very well recorded and
presented with liner notes as informative as they are entertaining. The music-making is of the very
highest order. Powerful and compelling ... brilliantly executed CD. All in all another fascinating
exploratory exploration of the rich repertorie ... a superb anthology.” – Nick Barnard (MusicWeb)
“Another revelatory recording for Divine Art ... a brilliant disc.” – Michael Tumelty (The Herald, Scotland)
“Terrific performances ... A nicely judged programme that is superbly played and recorded with clarity.” –
Guy Rickards (International Piano)
“A delightfully eclectic mix of styles and genres. Passages of brilliance to be savoured at every turn,
offset by a pursuit of colour and ambience. The recording ... is of a very high quality.” – Mark Tanner
47
“During this ethnographic concert the harmonies, rhythms, colors and beguiling associations are
unmistakably Russian, Swedish, French/Mediterranean and English. Throughout their hour and ten
minute musical travelogue, Goldstone and Clemmow's ebullience, respect for these composers and
technical flair is inescapable. – Howard Smith (Music and Vision)
“The music needs excellent musicians dedicated to their cause, and luckily that’s exactly what’s on offer
here. A stimulating disc, with excellent booklet notes by Anthony Goldstone.” – Colin Clarke (Fanfare)
“I am forever praising CDs from Divine Art that feature the dual piano team of Anthony Goldstone and
Caroline Clemmow. I hope for a second series that will take us to other countries overlooked in this
collection. But until then I advise that my readers give this Divine Art disc a try.” – Frank Behrens (Art
Times Journal)
25105
Russian Piano Music 9 – Weinberg
“There has finally been an overdue resurgence of interest in the music of Mieczyslaw Weinberg ... it’s
reassuring to see the same care being applied to his piano music output. The Russian Piano Music
Series of recordings on the Divine Art label has been a pleasure to follow, with one great release after
another, and this 9th volume in the series is no exception. It's proven to be my favorite yet. It may very
well set the bar high for future Weinberg interpreters.” - Jean-Yves Duperron (Classical Music Sentinel)
“Soviet piano music almost on a par with Shostakovich and Prokofiev, admirably played by this
splendidly gifted pianist. Virtually flawless playing and recording”  – James Palmer (Musical
Opinion – joint review with vol. 10)
“The music of Weinberg is very fine. He is a superb craftsman ... his compositions are relentlessly
intense. Weinberg has a considerable melodic gift as well. It is pleasant to hear his work played by
Murray McLachlan who has a beautiful supple tone, adding a wider field of sonority and textures than
one would expect.” – Raymond Beegle (Fanfare)
“Formidable playing from Murray McLachlan. In the wrong hands this music could lose the flow,
momentum and sense of structure but McLachlan maintains all of this superbly. Murray McLachlan is
ideal in this repertoire, playing with both sensitivity and bravura. These beautifully produced discs are
thoroughly recommended.” - “TheClassicalReviewer”
“Here [is volume 9] of Divine Art’s ever-enterprising Russian Piano Music Series. Murray McLachlan’s
performance, here as elsewhere, is brawny, relentlessly energetic and fully committed..” – Michael
Round (International Piano)
“Thoroughly idiomatic and assured playing.” – Jonathan Woolf (MusicWeb)
25106
Tchaikovsky Rare Transcriptions, vol. 2 (Ballets)
“The great secret of the tireless missionary work of pianist Anthony Goldstone is magically [to] draw us
into the detail of the music Great pianism and insight.. a glorious disc.” – Michael Tumelty (Glasgow
Herald)
[Goldstone] evokes, both in his magisterial performances and exemplary accompanying essay, an age of
outsize virtuosity... formidable command and eloquence ... you will find yourself irresistibly swept
forward by such relish and exhilaration. No doubting his conviction in such daunting and specialised
repertoire” – Bryce Morrison (Gramophone)
“I am a great admirer of Goldstone’s art. Aside from the technical skill to perform these hugely
demanding scores he displays real musical sympathy with the inherent style of this music and more
importantly still an ability to communicate that sympathy both in the playing of the notes and the insight
and interest of the programme notes he supplies. The skill of transcriber and performer are never in
doubt ... [a] compellingly enjoyable disc. The rest of the “package” - liner-notes, recording and general
presentation are first class. The piano sound as recorded is bright and full, detailed but not oppressively
so. A disc of real quality and one bound to give great pleasure to all.” - Nick Barnard (MusicWeb)
“British piano virtuoso Anthony Goldstone ... turns to the world of Tchaikovsky’s three exquisite ballet
scores. A combination of flying fingers and unforgettable melody ... wonderful non-legato [in the Sleeping
48
Beauty Polonaise]. If we have not already been convinced of Goldstone’s prowess we next encounter
Percy Grainger’s monumental account of Waltz of the Flowers.. we can virtually hear the horns in the
orchestration and the swirls and throbbing runs and trills resonate with a will. A decisive tribute to the
world’s foremost master of the ballet medium.” – Gary Lemco (Audiophile Audition)
“As melodist extraordinaire Tchaikovsky's writing lends itself particularly well to these entertainmenttranscriptions, with the next memorable tune arriving before the music even has time to think about
lulling... a spectacle of breathtaking pianism and exquisite detail. Goldstone's modesty is disarming,
whilst his technique and ear for the poetic phrase and dramatic flourish are almost second to none.
Sound quality is excellent. In fact, the only bad thing about this disc is that it is officially the last one in
the series.” - Byzantion (MusicWeb)
“I’ve found Anthony Goldstone’s recordings to be consistently delightful. He’s one of those modest
virtuosos who can play anything. Goldstone, without ever sounding glib or insensitive to the limitations of
actual dancers, glides through this wonderful glittering music triumphantly... hearing a pianist of
Goldstone’s calibre conquer such technical difficulties so genially can’t fail to bring pleasure. This is a
fun release – how could it be otherwise, given Tchaikovsky’s melodies and Goldstone’s impressive
playing?” – Raymond Tuttle (Fanfare)
“This is quite a find – if you love Tchaikovsky do not hesitate. Above all Goldstone is a master pianist,
not only technically, but also catching the true spirit of such wonderful music. Well recorded with a lovely
tone. Finally, the notes written by Goldstone are excellent.” – Gerry Miller (Epoch Times)
“Tchaikovsky asked friends and colleagues of his to make these transcriptions and without exception
they are wonderful. You couldn’t do better than getting this disc by Anthony Goldstone... he has made a
number of terrific recordings.” – Scott Morrison (Amazon)
“It is wonderful how Goldstone holds the structure [of Pabst’s Sleeping Beauty paraphrase] together so
well. Beautifully crisp playing [in the Siloti piece] ... the lovely little coda played to perfection. The
performance [of the Grainger work] is an absolute triumph. Some pretty dexterous notes played
brilliantly. With an excellent recording and informative booklet notes, lovers of Tchaikovsky and Russian
music in general will want this disc.” – The Classical Reviewer
“This second of Goldstone’s two volumes opens swishingly. Two ... items are disc premieres...
Grainger’s paraphrase is a tremendous evergreen.” – Paul Driver (The Sunday Times)
“Brilliantly played ... generously filled disc. Goldstone’s comprehensive and highly articulate booklet note
is a model of its kind.” – Michael Round (International Record Review)
25107
Russian Piano Music 10 – Weinberg II
“Soviet piano music almost on a par with Shostakovich and Prokofiev, admirably played by this
splendidly gifted pianist. Virtually flawless playing and recording”  – James Palmer (Musical
Opinion – joint review with vol. 9)
“[Weinberg] stands as a true innovator and original musical thinker whose music was as much an
influence on Shostakovich as vice versa. This disc is another great addition to the increasing
discography of this wonderful composer. His originality shines through at every turn. Murray McLachlan
th
is a great exponent of 20 century and contemporary piano compositions. He has many first
performances to his credit. This disc is further proof of his intelligent approach. It does wonderful service
to the composer’s intentions. This is a disc to savour.” - Steve Arloff (MusicWeb)
“[Weinberg's] piano works are among the most readily gratifying of his oeuvre, whether spunky
miniatures or his bold and rudely melodious sonatas. The harmonic ... groove delightfully under the
hands of Murray McLachlan. the performances are much better than those on the Grand Piano label's
new Weinberg piano-works project. Best reissues of 2012 – no. 2” – Jens Laurdsen (Ionarts)
“Subtlety and depth ... material superbly developed with a greater sense of form [than the earlier
Sonatas] ... perfectly handled by Murray McLachlan. What terrific playing there is from Murray
McLachlan. [He] is ideal in this repertoire, playing with both sensitivity and bravura. These former
Olympia recordings are excellent, with excellent piano tone and there are first rate notes by the late Per
Skans. These beautifully produced discs are thoroughly recommended.” - “TheClassicalReviewer”
49
“Here [is volume 10] of Divine Art’s ever-enterprising Russian Piano Music Series. Murray McLachlan’s
performance, here as elsewhere, is brawny, relentlessly energetic and fully committed..” – Michael
Round (International Piano)
“Weinberg is all the rage now. A tremendous disc, one fully worthy of investigation.” – Colin Clarke
(Fanfare)
25108
Stephen Beville in Karlsruhe
“This ambitious recital by a young British virtuoso, captures him in both studio and concert
performances. From the outset we feel the presence of an intelligent, controlled and searching pair of
hands quite capable of imparting power as well as finesse. When Beville builds up his momentum [in
Beethoven’s Op. 111], the surge becomes persuasively emphatic, the intimate moments eerily serene.
The last movement [of the Schumann Fantasie] plays directly into Beville’s ardent hands, an apt gesture
from one young poet to another.” – Gary Lemco (Audiophile Audition)
“Fascinating and frustrating but never boring. Beville plays [the Boulez] brilliantly. [In the Schumann] he
delivers a bold and electrifying march through the second movement and an absolutely gorgeous and
dramatic performance of the great slow finale. Beville wrote his own thoughtful and informative notes.
Certainly, his is a career to keep an ear open for.” – Peter Burwasser (Fanfare)
“Beville is a thoughtful artist, whose accounts of each of the established masterpieces here are well
worth hearing. () - Robert Matthew-Walker (Musical Opinion)
25109
Of Times and Seasons
“The songs and anthems of Peter Lea-Cox are eminently appealing. The cleanliness and purity of
Lesley-Jane Rogers's soprano is perfectly suited to the music she sings), while Jennie-Helen Moston
accompanies with superb sensitivity. [Rogers] sustains the exposed, poignant lines of "Afterwards"
(Hardy) stunningly. The recording is excellent, particularly when it comes to preserving the warmth of the
piano. A most enjoyable disc.” - Colin Clarke (Fanfare)
“This is a very attractive collection of songs and anthems that deserve to be included in the repertoire.
As usual from Divine Art, the booklet is beautifully produced with notes by Lesley-Jane Rogers and Peter
Lea-Cox together with full texts. The recording is excellent. Lesley-Jane Rogers’ … singing is often really
lovely in the quieter and more gentle passages. I do urge all those interested in English song and church
anthems to hear this disc.” –TheClassicalReviewer
“Will appeal to listeners who enjoy the vocal music of composers such as Gerald Finzi and John Ireland,
the emphasis being on a sensitive fusion of words and music. I enjoyed the ‘Collected Songs’ best of all.
Lesley-Jane Rogers gives an outstanding account of these songs. The accompanist Jennie-Helen
Moston makes a valuable and sympathetic contribution. The sound quality is ideal. Explore slowly and
enjoy the diversity on offer here.” – John France (MusicWeb)
“Peter Lea-Cox is an accomplished composer … each one of these carefully crafted songs has its own
individual charm and character … deeply attractive body of music. Performances are admirable…
recording quality is also very good.”  – Robert Matthew-Walker (Musical Opinion)
“These typically English songs are solid anthems and well suited for church services” – Mary Southwell
25110
David Jennings Piano Music
“The music is tonal and attractive ... generally in a lyrical and romantic vein. Sound quality, presentation
and notes are all to be commended, resulting in a very good disc of enjoyable music and sound
interpretation." – Em Marshall-Luck (Albion Magazine)
“[Jennings] writes serious, well-structured music and the interesting pieces on this disc are moving and
emotionally satisfying. James Willshire is a fabulous pianist whose runs are as smooth as creamery
butter. He has a wide dynamic range and a full palette of tonal and emotional color too. The sound on
this disc is excellent and it contains music that most certainly deserves a wider hearing.” – Maria Nocklin
(Fanfare)
“Jennings’ music is refreshingly straightforward and communicative ... any lover of tonal modern piano
music will find much to enjoy in these 78 minutes.” – Records International
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“This is true piano music. [he Piano Sonata] is the longest piece and the one which is most intriguingly
original. A truly extraordinary Op. 1 which deserves regular hearings and public airings. {among the
other works are] evocative and beautifully crafted piano miniatures ... each is a finely polished gem. The
Prelude and Fugue is searching and dramatic. James Willshire’s performances are faultless both
musically and emotionally. I can only strongly advise that you buy this disc and enjoy for yourself a new
and individual voice in British piano music.” – Gary Higginson (MusicWeb)
“David Jennings is a composer who is beholden to no-one in spite of a number of trajectories in his
musical language. His is serious, well-structured music that I can do business with. More to the point,
many of these pieces are not only impressive, but are interesting, satisfying and often moving. No
listener or composer could wish for more. I loved [the] Sonata. It is surely one of the best examples to
have come from the pen of a British composer for many years. This is a beautifully produced CD in
every manner. The sound quality is outstanding, with each nuance of the music being clear. The
programme is considerable in both scale and concept: the ‘complete piano works’ lasting over 78
minutes. The interpretation of these pieces by James Willshire is everything that could be wished. This is
a CD of piano music that is inspiring and challenging.” – John France (MusicWeb)
A MUSICWEB RECORDING OF THE YEAR 2013
“The composer reveals himself to be admirably equipped in writing for the piano and James Willshire
seems an ideal interpreter.” – Jonathan Woolf (MusicWeb)
“I really enjoyed this CD. The music is glorious and the performances by James Willshire are
outstanding. I had already heard the Sonatinas in concert and was keen to hear some of the other
pieces; I was not disappointed and this disc has been something of a revelation. I hope this music finds
its way onto Classic FM so more people can discover it. I am so glad I bought this CD.” – Amazon
customer
“The young pianist James Willshire plays all these pieces with warmth and an emphasis on the melodic
line. David Jennings's music is not flashy or ostentatious, but it is melodic, open hearted, and well
made.” - Jack Sullivan (American Record Guide)
25111
Mozart, Beethoven, Bach-Busoni piano music
“Crossland’s Moonlight Sonata enjoys a weighty lyricism without undue distortion of the musical line.
[The Bach-Busoni Chorale Preludes] sing gloriously and fleetly over bass tones to emphasise their
cantabile, stately and devotional directness of expression. Recording engineer Mike Hatch has provided
a balanced resonance between the salon and the concert-hall.” – Gary Lemco (Audiophile Audition)
“With [the two Mozart] works she succeeds in giving the recording an immediate sense of purpose. [In
the Beethoven] Crossland grapples boldly with the music’s continual tension and release, impetuousness
and repose ... playing of thoughtfulness and liquidity. Crossland’s playing has a distinctive and driven
quality to it, which certainly brings a good deal of zeal and excitement to her interpretations.” – Mark
Tanner (International Record Review)
“Jill Crossland gives us a programme here as tastily arranged as a cordon bleu menu, well thought out,
delicately prepared and fresh. It’s a most satisfying disc. I’d give it as a gift to one hungry for Michelinstar playing of classic recipes.” – Rick Jones (Words and Music)
“Her interpretations reflect deep thought and superb technique. She never imposes herself on the
composer’s intention. Excellent, conveying real sensitivity. 4.5 stars out of five.” – Gerry Miller (Epoch
Times)
“Crossland's straightforward interpretations usually capture the essence of each piece, with textural
clarity, careful rhythm, and sensitive melodic shaping.... much to enjoy in Crossland's sincere
interpretations and adept playing.” – Paul Orgel (Fanfare)
25112
Absolutely
“Superb playing .. this is an incredible success, combining jazz and classical ... all brilliantly played...
terrific jazz improvisations over the Purcellian sounds of the Fitzwilliam Quartet. Superb string playing
and inventive sax...with both blending wonderfully. Well recorded with excellent notes, this is a disc that
all open minded classical and jazz lovers should investigate.” – The Classical Reviewer
“Echoes of Bartók, Stravinsky, and Herbie Nichols permeate Absolutely!, and Steinmetz's soprano sax
flutters its way through the proceedings in a way that adds a voice to the string quartet in addition to
soloing over it. Violinist Tolling, by nature of his instrument, often sounds as if he is emerging from the
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ensemble. . What amazed me more was how the Fitzwilliam String Quartet also manages to assimilate
this style at times. The last movement, "Love," is an extraordinary polyphonic piece whose texture
becomes increasingly complex as it develops. Steinmetz's arrangements of the Purcell Fantasias are
fascinating for the clever way he has woven the soprano sax, playing variations on the themes, into them
without disturbing either the flow or the musical content of the works. This is a remarkable CD; highly
recommended!” - Lynn Rene Bayley (Fanfare)
“The natural - as opposed to digital - provenance of the reverberation is evident within seconds of
audition. In my view the final track ... is worth the purchase price of the CD alone. [A] brave new CD ...
the energizing music of Absolutely! with its rich meta content adds a welcome spoonful of idealism to
today’s relentless diet of self-centred commercialism” – “Pliable” (Overgrown Path.com)
25113
The Operatic Pianist
th
“Martucci’s splendid Fantasy of Verdi’s La Forza del Destino... three plausible excursions into the 19
century by Wright himself... Liszt’s glorious version of Isolde’s Liebestod. Thalberg’s Concert Fantasy on
La Traviata makes a gripping centrepiece.” – Paul Driver (Sunday Times)
th
“Impressive playing as Andrew Wright walks in the footsteps of the 19 century pianist-composer giants,
including some no-holds-barred-creation of his own.” XXXX - Jessica Duchen (BBC Music Magazine)
“Formidable playing … Wright displays great sensitivity in this lovely performance… beautifully done.
There is writing of some virtuosity which Wright throws off with panache and abandon. This is a disc to
sit back and enjoy while marveling at the many moments of virtuosity.” – Bruce Reader (The Classical
Reviewer)
“The focus of this challengingly virtuosic disc is Andrew Wright. It’s a measure of his aplomb that his
own transcriptions fail to wilt even in the glare of such declamatory historical precedent. But for all the
bravura there is also an awareness of the sheer musical refinement involved. These spirited readings
receive good recorded sound and Wright’s own notes cap his recital with insightful commentary.” Jonathan Woolf (MusicWeb)
25114
Remembering Alfred Deller
“This lovely disc is conceived as a tribute to Alfred Deller. For me this CD is a rather wonderful trip down
memory lane. The outstanding performers are ideally suited to the music, the recorded sound is
extremely clear and the musicians blend perfectly. Alfred’s family will be very pleased to hear this
imaginative CD. I warmly recommend it.” – Elizabeth Rees (The Consort)
“With such a stellar line-up of distinguished vocalists and instrumentalists a performance of deep
understanding and matchless sensitivity is assured. An amazing cast of superb musicians ... a wide
range of quality music. This is surely a CD which will remain essential listening for many years to come.”
- Adam J Dopadlik (The Recorder Magazine)
“A well conceived album of early and contemporary music. The album by showing both the modern lookback of contemporary composers and some of the revived works gives you a feel for the impact the rise
of Deller and the early music movement had last century. It is an absorbing listen, a nicely performed,
even surprising program of affinities and influence. Well-worth hearing and studying in depth!” - Grego
Applegate Edwards (Gapplegate Classical Modern Music)
25115
John Garth Accompanied Keyboard Sonatas
“Notwithstanding its immediacy and charisma, the highly approachable nature of Garth's keyboard
writing rendered [the Sonatas] within reach of those possessing only a relatively modest technique. A
highly refined, elegant mode of writing holding considerable appeal. Cooper is joined by violinists Pavlo
Beznosiuk and Caroline Balding, and cellist Robin Michael, superbly disciplined musicians whose
presence is invariably sensed rather than heard... shapely and stylishly captivating playing. It is not just
the adventurous speeds which contribute to the zesty effect in these performances but the intuitive and
perfectly aligned nuances and points of emphasis with which the ensemble is able to operate so
consistently. The recording is excellent, as it needs to be, in order to do justice to the top-drawer
musicianship on display from these fine players.” - Mark Tanner (International Record Review)
52
“Well done, Divine Art for a welcome set of works by John Garth. The sonatas on these CDs are
beautifully played with excellent sound and have a vigour that prevents them from being dull and
predictable. They have an elegance and gracefulness. All the performers are exemplary and Gary
Cooper has done much to encourage us with early music, a genre which many foolishly dismiss. All I
can do is recommend this handsome set. I do urge you to purchase.” – David C F Wright (Wrightmusic)
“There is much variety in the sonatas with Garth’s memorable themes a particularly attractive feature. .
The playing of Gary Cooper and the Avison Ensemble has so much verve and life in sonatas that are full
of fine tunes that stick in the mind long after listening to them. This is a highly desirable issue that will
give endless enjoyment.” – The Classical Reviewer
“It was not hard at all to listen to these sonatas at a stretch. This is delightful music, very well written and
with plenty of good themes. There is never a dull moment here, and that is also due to the interpreters
[who] deliver energetic and differentiated performances. This has resulted in a highly entertaining set of
discs.” – Johann van Veen (MusicWeb)
“There is a period flavored freshness and vivacity to these works, as nicely performed by the Avison
Ensemble with Gary Cooper. The individual tang of early pianoforte instruments, harpsichord and organ
help individualize each sonata and give it character. The ensemble plays these pieces with enthusiasm,
an infectious sort. I found myself listening with pleasure each time. I suspect anyone with an interest and
appreciation for the earlier forms will feel positively about the program and its performance. Good show!”
- Grego Edwards (Gapplegate Classical Modern Music)
“The only other recording of the music of Durham composer John Garth, comprising six cello concertos,
also comes from Divine Art and received a warm welcome from me some time ago. If anything the
music [here] is even more interesting than on its predecessor and the performances are just as fine as
on the earlier set. The mp3 transfer is clear and immediate and the pdf booklet comes as part of the
deal.” – Brian Wilson (MusicWeb Download News)
25116
Carson Cooman – Litany
“Great music, performed on a magnificent pipe organ, by an organist at the top of his game, all captured
in vividly realistic sound. In other words, an outstanding recording. I never give out stars or number
ratings but if I did, this CD would get 6 out of 5 stars, or a rating of 11 out of 10. Cooman’s music is
highly original and, on this recording anyway, all the pieces are as varied from one another as they are
captivating. A state of the art recording so realistic you would swear you are sitting right there at the
organ console. I believe Divine Art have released a benchmark recording. Recommended for everyone
and definitely not to be missed by pipe organ fans.” - Jean-Yves Duperron (Classical Music Sentinel)
“The album up today is not totally indispensible. Not that is, unless you are an organ music aficionado.
Cooman writes inventive, modern tonal music that follows in the footsteps of the French school of organ
composers. There is much to like. The performances and sound leave nothing to be desired. It’s all
there. Cooman ... is a bright light that shines for us. Organ fans take note! Recommended.” – Grego
Edwards (Gapplegate Classical-Modern Music Review
“It is good to hear works for organ so sensitively written and beguiling to the ear. There are some real
gems of the organ literature on this appealing recording. Erik Simmons is a fine organist who reveals all
the little details and textures of these pieces. The recording is first rate. As usual with Divine Art
productions, the booklet is beautifully produced with excellent booklet notes complete with organ
specification.” - ‘The Classical Reviewer’
“Those who know Carson Cooman’s choral style will understand the easy appeal that his music
manages while seldom attracting the damning label of accessibility. This is a collection of vigorous
pieces communicated through a tonal yet still personal language. Simmons plays with musical
comprehension as well as the clinical precision demanded by the clear-cut, sometimes startling, sounds
of the IV/85 Marcussen, which suit the music.” XXXX – Matthew Power (Choir & Organ)
“Nice music, beautifully crafted, and perfect for the occasion. I’m very impressed with [Simmons’s]
playing. The balance and finish of [the organ’s] scaling and voicing and the state of its tuning ... is almost
too good... Such perfection... Charming CD. You will enjoy it.” – George Bozeman (The Tracker –
Journal of the Organ Historical Society
25118
Rimsky-Korsakov for Piano Duo
“Just listened to the new "Scheherezade" disc - it's magnificent! I felt like jumping up and shouting
"BRAVO" after each movement. “ – John Monhoff (California)
53
Section 2 – Diversions 24100 series:
24101
Organ in the Hills:
"Well done Simonburn! [Wallace plays] a well-balanced and enjoyable programme with refinement,
projection and imagination…[the organ] only possesses fourteen ranks, but each is a gem.” – Paul Hale
(Organists’ Review)
“This is a rather good CD. The organ has some exquisitely charming sounds and the playing is at all
times skilful and accurate. Listening to this recital is an enjoyable experience.” – Warwick Cole
“A modest but gorgeous example of mid-19th century village organ building... A nice piece of local
history, and an undoubtedly first-rate instrument” – Chris Bragg (MusicWeb)
“Wallace demonstrates the finely tuned organ to its best in distinctively voiced counterpoints and
luminous choral effects. Warm, natural recorded sound” - Tom Hall (The Journal Culture Magazine)
24102
Classic and Romantic:
"marvellous and memorable performances.. thoroughly recommended" - Bulletin of the FRMS
"Terry Johns brings...a sensibility that gives the most fundamental element of music, melody, its
due........he fully realises Beethoven's dictum that music should pass from the heart of the composer to
the heart of the listener.. recommended to all those who still think that various categories of music are
mutually exclusive - and to everyone else" - William Zagorski - Fanfare (USA)
24103
Soft Core Horn:
“Charming moments and one or two musical surprises” - The Scotsman
“A must for fans of the French horn…stunningly inventive…Terry Johns gives the melody a vocal
quality…the perfect accompaniment to a large gin and tonic” – The Musician
24104
Cox and Box:
“Professionally performed and comically expert” - BBC Music Magazine
“the performance has real flair and accomplishment” – Gramophone
“earnest dedication to authenticity…..Donald Francke is genuinely funny…” - Opera Quarterly (USA)
“strongly recommended…”. - Classic CD
"lively… enjoyable… spirited and polished performance" - Penguin Guide
24105
A Society Clown:
“The booklet is very nicely presented and the CD which is well recorded and affords generous measure
is generally very recommendable” - Phil Scowcroft (British Music Society)
“If you like Gilbert & Sullivan, you will most likely enjoy the songs of George Grossmith. The songs are
indeed witty and stand up well today. The music is well recorded and well performed” - Phil Stewart (In
the Groove, USA)
24106
Bliss Piano Concerto:
“Barnard’s playing is tremendously committed and he copes well with the many virtuoso demands Bliss
forces on him. There is a great Romantic sweep to the first movement: the orchestra (inspired under
Sargent) obviously enjoys letting its hair down. …Throughout, the orchestral detail revealed by
Craythorn's transfer is little short of miraculous. Barnard's variety of touch comes to the fore in the last
movement also, the effect almost spectral at times. …….Wholeheartedly recommended.” Colin Clarke (Classical Music on the Web)
“Barnard is well up to the taxing demands in the outer movements – the mighty cadenza at the end of the
first movement is a tour de force. You get the strong impression that by sheer force of personality, the
54
accompanying Philharmonia under Sargent were galvanised into urgent response, so that Bliss is here
receiving the best possible advocacy.” – International Record Review .
“Though hardly cutting edge for its time, Bliss’s Concerto is a work of much ingenuity, and Trevor
Barnard is a splendid soloist…..I enjoyed this reissue enormously” (Gramophone)
“Barnard..plays with….scintillating brilliance.. the central movement is beautifully handled… some of the
most precious minutes I have spent in recent months” – Fanfare (USA)
"Barnard's excellent performance… is… commanding.. a strong passionate reading.. and displays
considerable virtuosity….thoroughly worthwhile CD reissue" - Penguin Guide to CDs
24107
The Jane Austen Collection:
“This is a delightful idea for a recording… The non-musical items in the programme are done splendidly
by the soprano Margarette Ashton… The performers are excellent. With original instruments joining a
soprano voice that is small but admirably suited to the repertoire the concept succeeds. The wellrecorded programme really does create images of the scene that we are intended to imagine. A
recommendation then for an imaginative and enterprising CD” – Classical Music on the Web
24108
Avison opus 9 Concerti:
“pleasingly polished and stylish performances… the recording is natural and the ambience just right” –
Penguin Guide to Compact Discs
" This group produce a rather unusual intimate sound. This works really well in the slow movements…...
The playing is extremely good and the recording presents no problems…..it is good to see such faithful
servants of music like Duncan Druce still giving of his talent, experience and dedication." - David Wright
(MusicWeb)
"The Georgian Concert give polished and technically perfect readings. The recording is texturally very
clear"
Performance  - Recording  - David Denton (Yorkshire Post)
"I certainly hope there are further recordings planned…..an especial pleasure…..utterly natural
sound………… Highly recommended." - Early Music Review
"Plenty to charm the ear………. Performances are spruce and spirited, with stylishly turned obbligato
contributions and a nice feeling for Avison's dance rhythms."
Performance  Recording  - Richard Wigmore (BBC Music Magazine)
"The music is so enjoyable… overall this is an attractive and interesting disc which can be fully
recommended to anyone interested in early English music." - Arthur Baker (MusicWeb)
"Music that gives his contemporary Handel a run for its money" - Northern Echo
“The works brim with elegance and intelligence, The Georgian Concert gives excellent performances” –
Em Marshall (Albion Magazine)
"played with sprightly buoyancy and clean, crisp articulation, while the attractive final movements, often
tunefully graceful minuets, are played with winning affection. Leader Simon Jones deserves high praise
for some particularly elegant playing" - Fanfare (USA)
"I would rate these almost the equal of Handel…..The Georgian Concert…have a real feel for this music,
- the pizzicato accompaniment to the aria ending of op.9 no.4 is beautifully done, to cite but one
example….excellent recording… very high marks to both Avison and the Georgian Concert. " - Francis
Knights (International Record Review)
“Some very interesting works… The Georgian Consort play all the works with consummate skill” –
24109
The Grossmith Legacy:
“Even the pieces that lack any G&S connection are enjoyable and significant to an appreciation of the
era when their operas were created. One caution: Set aside time when you can really listen to these
numbers. This is not background music, but depends for its effect on listening carefully to every word:
55
thankfully, all of the songs come across clearly, thanks to Leon Berger's superb diction, even in the
patter songs. He is to be commended for getting his arms around some very difficult material, most of
which was written by, and for, a man of unique talents the likes of which we may never see again” - Marc
Shepherd (G&S Discography)
“If you like Gilbert & Sullivan, then I am sure you will enjoy this CD… anyone with the slightest sense of
humour will find much here to enjoy. Thanks to Leon Berger’s superb diction, every word comes across
clearly and he does a wonderful job of infusing great personality into these songs. Selwyn Tillett
accompanies on the piano with both sensitivity and virtuosity. Very nostalgic and enjoyable – go and buy
this wonderful CD”. - Colin Loffler (For the Record)
“[Leon Berger's] remarkably versatile voice with wide compass provides much variety of character and
colour from track to track. It is generally for this reason that this disc so successfully holds the listener's
attention...Unobtrusive accompaniment is sensitively and competently provided by Selwyn Tillett who
has much experience of studying and playing Victorian music. His light and nimble fingerwork is a joy to
listen to and is always closely married to the voice... The disc is likely to be highly appreciated” Raymond Walker (Musicweb)
“shows the Victorian and Edwardian ages at their most humorous… sprightly tunes, funny lyrics, and the
need for excellent enunciation…here Leon Berger excels… Great fun” – Frank Behrens (Eagle Times
(USA) and Amazon.com)
“the recording is clear and well balanced… the juxtaposition [with Sir Thomas Allen’s Hyperion disc] can
be no greater recommendation of Berger’s performance… a very worthwhile addition to the recorded
stock of Victorian songs and ballads” - Robert J Farr (Musicweb)
“Most of the songs and sketches have not been sung for nearly a century and not only are pleasant in
their own light but also gives a fascinating insight into Victorian Concert Parties.
The final two items on the disc are not by the modern artists listed above, but are … sung by George
Grossmith III recorded in 1909. Apart from the recording, one would have thought this was the same
singer as the other items — a good illustration of how well Leon Berger has caught the Grossmith way of
singing. The accompaniment is very important in this material and Selwyn Tillett’s playing sounds just
right. The recording and notes are up to the usual high standard of Divine Art Records. An unusual disc,
interesting and entertaining.” - Arthur Baker (FRMS Bulletin)
24110
The Monckton Album: Gramophone “Critics’ Choice” 2004
“This recording is a worthwhile collector's item… This genre is so much a part of Britain's heritage… a
distinctive charm that should not be underestimated. This is an enjoyable and well recorded disc. I find
the quality of the singing excellent with warm sopranos providing good expression, a distinctive tenor and
resonant baritone, as well as the support of an excellent chorus.” – Raymond Walker (MusicWeb)
“The melody man long neglected at home finds some champions in Estonia…marvellous
melodies…quite delightful.. Mart Sander demonstrates…how well-shaped and heartfelt Monckton’s
melodies could be. Mariliina von Uexküll’s sweet-toned soprano is no less winning…an enterprising and
delightful issue” – Andrew Lamb (Gramophone)
“Delicious music…sheer joy. Full of gems, brilliant CD” – Denby Richards (Musical Opinion)
“a wealth of easy melodies… Monckton had a remarkable facility for catchy songs… it’s wonderful to
hear [these musicals].. the wonderful score [The Arcadians] enchants in an attractive medley. Truly
bewitching” – American Record Guide
“The music is full of attractive tunes, evocative, if retro, sentiments in the librettos and a good balance
between solo, ensemble and chorus. There is a sense of fun from virtually the first to the last. The
enunciation, clarity and mood are near-perfect. Divine Art Recordings Group has made a major
contribution to British Light Opera with this fine exploration of Lionel Monckton’s music. I was delighted
with the sound quality on this CD: the ambience is ideally suited to this kind of music.” – John France
(MusicWeb)
“The tunes are all attractive, the lyrics pleasant and sometimes even clever… [Theatre Bel-Etage are] a
wonderful group… a personable group of principals and a very good chorus. I can recommend it as
miles above the scores of musicals today. I found this set a breath of fresh air. You will too” – Frank
Behrens (Amazon..com / Showcase)
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“All three stage comedies are presented as selections… the judgement is invariably astute and the
selections are unjoltingly cleverly constructed. When it comes to The Arcadians’ song My Motter Sander
proves a dab hand at Estonian Cockney and at playing the lush and Mariliina von Uexküll proves to have
a fine, flexible voice with operatic-soubrettish quality (good coloratura as well) as she copes neatly with
her tongue-twisting song Pipes of Pan – not easy to do even if your first language is English. There are
plenty of opportunities for character singing and acting here and the orchestra has a good supportive
opportunity in Arcady is Ever Young. The principals and band prove worthy ambassadors for this
music. I recommend popping in to the Theatre Bel-Etage. You might even find Mart Sander there,
twirling his cane” - . Jonathan Woolf (MusicWeb)
“London’s top selling musicals in the early 1900s… a trip down memory lane with such happy and chart
topping melodies as Pipes of Pan and Come to the Ball” – David Denton (Yorkshire Post).
24111
Mathias & Pickard Piano Sonatas:
“stunning performance from Raymond Clarke... intense quality from a pianist who has that rare
communicative gift to transcend the medium. Pickard’s Sonata is… a really important composition…
profoundly impressive and deeply musical… Mathias’s Sonatas both exceptionally well written. The
recording is excellent” – Robert Matthew-Walker (Musical Opinion)
“superb performances… a very fine recording … a revelation. The recording is spell-binding; the
performances are staggering. Clarke is in complete control – absolutely astonishing… Unreservedly
recommended.” – David Wright –MusicWeb
“This CD is almost unthinkable without [Clarke’s] expertise and persistence; the rhythms have to be
acutely etched to keep the high-strung tensions tight and rewarding. Clarke is the man here.” – Fanfare
(USA)
“brilliantly played by Raymond Clarke, a pianist who combines an emotional commitment to the music
with a prodigious technique. The whole disc is enthralling… music-making of the first order … Intelligent
and passionate music performed with great insight.” - Classic CD
“dedication and virtuosic flair … First-rate recording: an excellent disc.” - BBC Music Magazine
“The playing is stunning... None of these works are easy – in fact they are all virtuosic pieces. There is
no doubt that this repertoire is totally agreeable to Raymond Clarke. He plays this music with sympathy
and technical aplomb. This is an important contribution to 20th century British Music.” – John France
(Musicweb)
“Raymond Clarke plays this very demanding program with spirit and dexterity... Mathias’s music makes
a strong and satisfying impression and is well worth seeking out.” – Lehman (American Record Guide)
24112
Schubert – Impromptus:
“… you could be sitting around the piano at a Schubertiad, melted by yet fresh wonders from the
composer’s own hands… “ – Gramophone (on original issue)
“This is a valuable reissue. The delicate sound of the instrument is a decided asset throughout… a
good deal to enjoy in Katin’s undemonstrative and unfailingly musical playing. Performance 
Sound  - Misha Donat (BBC Music Magazine)
“quiet playing that is often carefully nuanced…Katin seems to have command of the works’ structure…
tempos are well judged and some of the more personal interpretive decisions… seem convincing. Katin
provides some fresh perspective on familiar repertoire” – Cameron Gardner (The Schubertian)
“highly articulate, intelligent, observant… and musical playing…[The B flat Impromptu] is a performance I
will gladly hear again, not because it’s played on an 1832 Clementi square piano but because it’s played
very beautifully”- Christopher Howell (MusicWeb)
“He plays these timeless masterpieces with grace and passion, creating music that takes the listener to
a peaceful haven far from the hectic pace of life.” - New Classics
24113
Clementi Keyboard Sonatas: *** One of BBC Music Magazine’s “Best CD’s of 1994”***
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“[Katin] exhilarates in the instrument’s expressive potential. So exquisite is Katin’s phrasal intuitiveness,
so inevitable and supple his rubato…he also makes a glorious sound, underpinned by a seamless
cantabile that glows throughout like an iridescent pearl” – Julian Haylock (BBC Music Magazine)
“This disc is a delight. I want to give further indication of the unequalled stature of Peter Katin both as a
pianist and musician. The music has charm, elegance and wit. To describe Peter Katin’s performances
would necessitate a host of superlatives” (Performance  Recording ) – David Wright
(MusicWeb)
“Katin’s playing is a treat to hear. This is an opportunity to hear how a composer’s works sounded at the
time they were written. An interesting argument for the inclusion of the square piano in public
performance” – David Blomenberg (MusicWeb)
“Katin’s faith in music and its composers is ageless. It seems to be his whole reason for playing” -Daily
Telegraph
“as authentic as one could find… very realistically recorded” - Penguin Guide to Compact Discs
“Always thoughtful in his delivery and phrasing, Katin repays careful listening. Katin challenges
expectation… at times his interpretations are surprising… he manages to capture an individual character
from each of the sonatas” – Warwick Cole (International Record Review)
24114
Teresa Cahill sings Strauss & Rachmaninov:
“Glorious singing… she soars lustrously when she has to but she also finds a wide range of colour in
these songs… vintage performances. Rachmaninov gains as much as Strauss from Cahill’s lustrous line
and range of characterisation and Vignoles shows much superior pianism. Here is singing such as would
surely have warmed both composers’ hearts. Excellent presentation, with notes on the music, singer and
pianist, and original texts with English translations…Recommended with great enthusiasm” –
Christopher Howell (MusicWeb)
24115
“Sarabande” Bach music for guitar
“A delightful new album… [Richards] plays these timeless masterpieces with grace and passion,
creating music that takes the listener to a peaceful haven far from the hectic pace of life” - John Pitt
(New Classics)
24116
Chopin First and Last – Peter Katin:
“ravishing… an ear-tickling recital” – Julian Haylock (BBC Music Magazine)
“a first class disc on all counts…” – Early Music Review
“the interest here lies in the piano... the recording is admirably truthful. Peter Katin… produces an
attractive singing tone” – Penguin Guide to Compact Discs
24117
Haydn and Stamitz music for flutes:
“The trios by Haydn get a good performance… The main interest of this disc is in the pieces by Stamitz,
which - as far as I know - have never been recorded before, certainly not on period instruments. And
considering their qualities, which are eloquently demonstrated by the interpreters, they are well worth
listening to.”- Johan van Veen (Musicweb)
“Well worth hearing… these performances have a gentility and modesty about them… perfectly matched
to the music. The flutes are well balanced…the acoustic is suited to the repertoire… a perfectly pleasant
disc… most diverting. – Warwick Cole (International Record Review)
“another delightful period-instrument performance. These pieces sparkle and sing…Holliday and
Harrison play with accuracy and elegance. I do not think I can go back to playing this music on modern
instruments. This recording has convinced me that the one-keyed flute is ideal” - Chaffee (American
Record Guide)
24118
Britten: Resonances:
“What a wonderful pianist Anthony Goldstone is. He makes every one of these pieces sound its best –
better than I’ve ever heard before… a great musical interpreter.” – Lehman (American Record Guide)
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“Goldstone’s performance on this CD is excellent and makes each one of these works fresh, vital and
essential. The programme notes are good and the sound quality is great. I recommend this disc to all
lovers of British music and also to enthusiasts of piano music” – John France (MusicWeb)
“Goldstone’s playing is immaculate and the recording quality superb.” – Geoffrey Crankshaw (Musical
Opinion)
“Be glad that Goldstone explores so far off the beaten path, finds so many interesting things along the
way, and plays them with such lucidity and sensitivity.” Performance  Sound  - Stephen
Johnson (BBC Music Magazine)
“This is an imaginatively conceived anthology… everything admirably played” - Peter Dickinson (The
Gramophone)
“This is an important reissue and should be acquired quickly… Goldstone dispatches [the Waltzes] deftly
with assurance and wit” – Britten-Pears Library
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“Forever – 30 Romantic Guitar Miniatures”
“By and large, easy-on-the ear mood music. Undeniable appeal” -  Nottingham Evening Post
“Gifted classical guitarist.. highly accessible recital.. blends the familiar and the relatively obscure to
excellent effect.” – Kevin Bryan (Stirling News)
“This is a very well filled CD. Section Three [British works] is perhaps the most fascinating … the whole
presentation has been very carefully considered.” – Chris Durnigan (Classical Guitar)
24120
The Art of Peter Clinch:
“a compendium of saxophone marvels and a remarkable testament to the artistry of one of the
instrument’s most persuasive interpreters” – Neville Cohn (OzArts Review)
“A progressive trajectory from the conservative Lovelock… to the extremes of Penberthy and then
D’Ombrain. The acrobatics are superbly handled by Clinch. Sound is staggeringly clear and free from
aural detritus. Notes are fulsome and reflect considerable work.” – Rob Barnett (MusicWeb)
24121
“Empyreum”:
“captivating accounts of two short sun-drenched songs… what is apparent is a sincerity of expression
and a real desire to communicate… will prove both comforting and enjoyable.” – Marc Rochester
“the two songs are appealing and ably performed… Voces Oxonienses…are sensitive and engaging in
their performance. Overall the performances are good.” – David Blomenberg (MusicWeb)
24122
The Rosslyn Motet:
“There’s no doubt about it: the [Rosslyn] music is gravely beautiful in its relative simplicity, and credibly
‘ancient’. It is performed by an accomplished, pure-toned quartet of singers. [The Chartres piece] is both
sober and appealing. This passes what might be called a ‘blindfold test’: I enjoyed the music even before
I knew what was behind it.” – Raymond S. Tuttle (International Record Review)
“A hauntingly beautiful composition… the music literally shines from the recording. The piece unfolds like
a sacred tapestry. This is music to listen to again and again. Music that resonates within the chambers of
the body, a healing balm to body, mind and soul.” – Susan Hale (Caduceus)
24123
From Wonderland to Heaven:
“Gives choral music fans something well out of the ordinary to enjoy. An interesting diversion for old
music ears” – Chris Spector (Midwest Record)
24124
Splendour and Magnificence (Baroque trumpet):
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“Such good listening… sheer technical brilliance and wizardry of Guy Touvron… organ played with such
elegance and human delight by Wolfgang Karius. A delicious blend of purity and fun.! – Denby Richards
(Musical Opinion)
24125
A Piano Odyssey:
“An ace classical piano man… very much a player you should be better acquainted with, Barnard’s
odyssey is a trip well worth taking with him. A marvellous collection.” - Chris Spector (Midwest Record)
“Barnard’s Piano Odyssey is a rather bipartite affair but it makes for an enjoyable if not quite Homeric
journey. I found the Australian works the most exciting performances. Recording quality is consistent
despite the vagaries of dates and locations and the notes are helpful.” - Jonathan Woolf (MusicWeb)
“Barnard is a careful craftsman yet has the ability to retain the musicality and sensitivity required to
demonstrate the disparate styles. Overall this is a varied microcosm of piano writing...interpreted and
performed by a master. Highly recommended” - Rita Crews (The Studio)
24126
Camilleri Orchestral Music:
“This collection is one of the most rewarding compilations I have encountered in a long time…
consistently attractive and often hauntingly tuneful,… resourcefully inventive, elegantly crafted and richly
scored. These sparkling performances from Brain Schembri and the excellent Bournemouth Symphony
Orchestra could not be more stylish or persuasively spontaneous, and the vividly atmospheric recording
is first rate. Not to be missed.” – Ivan March (Gramophone)
”A lovely disc with unpretentious, colourful, well-crafted works in very fine performances. Light music,
maybe, but of the highest order. Do not expect any earthshaking masterpieces here, but a bunch of
attractive and enjoyable miniatures.” - Hubert Culot (MusicWeb)
“The Malta Suite is a remarkable work from someone so young. The disc is well programmed. The
recording captures the sultry but restrained warmth of the strings to perfection. This is thoroughly
enjoyable music, undemanding yet often exquisitely crafted.” - Colin Clarke (Fanfare, USA)
“A symphony [orchestra] in tow that has a real feel for the works. Quite a dandy diversion that almost
bops along like a pop record.” - Chris Spector (Mid West Record)
24127
Catalina Butcaru recital:
“Butcaru steps up with a stellar solo work-out…Her feel for Ravel and Schumann are right in the
pocket… a first class impression. These are clearly ten new fingers to keep a close watch on.” – Chris
Spector (Mid West Record)
“This [CD] is nothing short of sensational... superlative. I have never heard [the Berg Sonata] played
better, It is a flawless work played flawlessly. [In the Ravel] the pianism remains staggering. This is a
must have disc. It is the best piano playing I have heard for years.” – David Wright (Wrightmusic)
“A richly comprehensive programme… all these readings are quite without the superficial gloss or
“knowingness” of many alternative performances. Berg’s Sonata… suits this pianist’s serious and
reflective style admirably.” – Bryce Morrison (Gramophone)
“One of the most enterprising and talented musicians around and these interpretations vouch for her
considerable ability and sense of natural expressiveness.” This is a well balanced programme sensitively
presented and superbly executed.” – Gerald Fenech (ClassicalNet)
24128
Northumberland and Beyond:
“Jeffreys deserves to be considered on a par with much better known composers... areal gift for lyrical
th
writing. Partridge has one of the most instantly recognizable tenor voices of the 20 Century, limpid and
sweet, with consummate control and impeccable diction. His sister is a distinguished accompanist and
teacher. Together they present an engaging and rewarding program. Good notes and texts” – R. Moore
“There is no doubt that John Jeffreys is a natural songwriter. Without exception these songs display a
strong melodic impulse. His response to texts is distinctive and very much his own. There’s great
pleasure to be had in listening to these songs. And what a delight it is to have another example of the
artistry of Ian Partridge! His timbre is utterly distinctive and I’ve always appreciated his singing. Here the
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clarity of his diction, the easy, unforced delivery, the vocal control and the evident empathy with both
words and music are all consistently evident. His sister and regular recital accompanist, Jennifer
Partridge, is no less fine an advocate for these songs. It’s hard to imagine that John Jeffreys’ songs
could have been better served. Though the recordings were made over fifteen years ago the sound is
fully satisfactory. I’ve greatly enjoyed making the acquaintance of these songs and I know I’ll return to
this disc with pleasure in the future. I urge all lovers of English songs to seek out this very fine disc.” –
John Quinn (MusicWeb)
“Tenor Ian Partridge and his pianist sister Jennifer have done much for British music down the years.
The present disc showcases the composer John Jeffreys with 24 song-writing gems... always the
musical setting responds to the text sensitively and tellingly.” – Peter Palmer (Nottingham Evening Post)
24129
Alicja Fiderkiewicz plays Chopin
“This finely played, acutely interpreted and attractively recorded recital reflects well on all concerned.
Fiderkiewicz ...summons up the right sound, colours appositely, is constantly mindful of the rhythmic flux
of the music and she vests things with apposite characterisation. In short she is a perceptive if
sometimes wilful guide to the music and has constructed a balanced recital. Fiderkiewicz proves her
credentials with this recital.” – Jonathan Woolf (Musicweb)
“Miss Fiderkiewicz has a growing international reputation and deservedly so. She has a tone of exquisite
beauty and does not fall into the trap of being maudlin. There is an intensity in her playing of the major
works which is not marred by emotionalism. Her style is admirable and generally in accord with Chopin...
her playing is totally convincing and it is evidence that she knows the music well.” – David Wright
(Wrightmusic)
“She is clearly on home ground here in this satisfying recital” – Peter Spaull (Liverpool Daily Post)
“Free-spirited to the last, she leaves a fashionably nonchalant or disengaged Chopin to others, storming
through the C minor Nocturne’s central fusillade of octaves with a sure sense of rhetoric and
declamation.” – Bryce Morrison (Gramophone)
“Smart interpretations of Chopin ... this is a dignified and tuneful take on later works by Chopin. The
album is well played and up front in its simplicity being a nice find for the classical piano fancier. “ Chris Spector (MidWest Record)
24130
Chamber Music for Harp
“Snell can be found taking his harp to places you’ve only seen in dreams. Kanga is a skilful and fine
interpreter. This first class kind of recording that real music fans are always on the prowl for. Hot stuff.”
– Chris Spector (MidWest Record)
24131
Erik Chisholm Music for Piano vol. 1
“We have much to learn about Chisholm and can be thankful that Dunelm [now Diversions] have paid
him some attention. There are three works on this generously packed CD. The... Straloch Suite is often
gracious... touchingly done. [The] Sonata is deeply impressive, clangorous with skirling majesty, abjuring
tartan nonsense and staying in touch with the expressive autochthonous roots of the highland culture dangerous, harsh-edged and sheerly beautiful.” – Rob Barnett (MusicWeb)
“Newcomers to Chisholm’s piano music will invariably find it profoundly musical characteristics first, it is
supremely well written for the keyboard, by a composer who we know was a keyboard virtuoso himselfthere is nothing ‘unpianistic’ in his writing. There is deeply creative musical intelligence at work here. The
Sonata is an astoundingly original piano composition: on this CD we encounter three very different
works, yet which are equally clearly the product of the same impressive mind.” – Robert Matthew-Walker
“These four CDs... already provide evidence of one of the most important oeuvres for the instrument of
any British composer. McLachlan’s achievement in presenting this huge and hugely neglected body of
piano music deserves enormous praise” – Martin Anderson (International Piano – joint review of vols 14)
“McLachlan is supremely sensitive...just as he is unafraid. This is a superb series of discs that will either
individually or collectively act as a splendid introduction to Chisholm’s intriguing music.” – Colin Clarke
(Fanfare – joint review of vols 1-4)
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“I can hardly imagine anyone wanting just a single volume of this collection of piano music; this is
possibly one of the most important single contributions to British piano music alongside that of Bax,
Ireland, Sorabji, Hoddinott and Cyril Scott.. [The Sonata] is an undoubted masterpiece. Murray
McLachlan has made an important contribution to the literature of British piano music. Moreover,
McLachlan has been well served by the fine recording.. the learned programme notes are a joy to read.
I look forward to hearing the subsequent Cds in this eye-opening cycle with great anticipation and
enthusiasm. It is one of the musical discoveries and revelations of the twenty-first century. – John
France (MusicWeb) joint review of volumes 1-4)
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“This new release has given me particular pleasure, and the music is accessible. Documentation and
commentary by John Purser is impressive, and this series deserves wide dissemination.” – Peter
Grahame Woolf (Musical Pointers)
supremely well written for the keyboard, by a composer who we know was a keyboard virtuoso himselfthere is nothing ‘unpianistic’ in his writing. There is deeply creative musical intelligence at work here.
[This CD] explores what one might term Chisholm the miniaturist, The first Prelude is a quite wonderfully
unique gem – a description which can be applied to every other track here.’” – Robert Matthew-Walker
"Short, cleverly written miniatures of charm, wit and sometimes ear-tickling enjoyment. McLachlan plays
all this with full musical skill" - Becker (American Record Guide)
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“One finds in Chisholm’s music a progressive absorption of diverse influences to forge a personal
response... grand and uplifting music. [The Cornish Dance Suite]....excitingly done in this performance
and rounds out Chisholm’s earlier inspirations very nicely.” - Jonathan Woolf (MusicWeb)
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There is an inherent immediacy of communication with the listener that marks Chisholm out as a truly
genuine creative figure. McLachlan plays the pieces most admirably. [The Cornish Dance Sonata] is a
quite dazzling piece of composition – extraordinary original inspiration.” – Robert Matthew-Walker
24134
“[Chisholm] is capable of writing with succinct economy and yet there are always surprising twists of
harmony and rhythm that avoid the commonplace. Throughout this disc Murray McLachlan once again
shows his dedication to the Chisholm cause. I hope other pianists will be inspired by him and play
Chisholm’s music; some of it ought to find a place in the repertoire. At his best Chisholm’s piano music
can hold its own among that of the first half of the twentieth century. It simply demands to be heard.” –
David Hackbridge Johnson (MusicWeb)
supremely well written for the keyboard, by a composer who we know was a keyboard virtuoso himselfthere is nothing ‘unpianistic’ in his writing. There is deeply creative musical intelligence at work here. [On
this CD] we encounter Chisholm in more cosmopolitan vein... to reveal another side of Chisholm’s
remarkable artistry.” – Robert Matthew-Walker (International Record Review
“ My regard for Chisholm grows with each new recording of his music. Every piece is strongly
characterised and his musical language(s) are widely derived and have a feeling of original thinking. This
newest attempt to bring Chisholm out of the shadows ought to succeed; a composer well worth
exploring.” - Peter Grahame Woolf (Musical Pointers)
Ireland, Sorabji, Hoddinott and Cyril Scott.. [The Sonata] is an undoubted masterpiece. I look forward
to hearing the subsequent Cds in this eye-opening cycle with great anticipation and enthusiasm. It is
one of the musical discoveries and revelations of the twenty-first century. – John France
(MusicWeb) joint review of volumes 1-4)
24135
Vaughan Williams London Symphony etc, NYOW)
“Hughes’ young players give as characterful a versions as any subsequent to the 1952 Boult and ’56
Barbirolli”  - ‘CB’ (HiFi News)
“Extremely well-played and impressive performances... the London symphony opens with a great sense
of atmosphere... brilliantly performed... admirable technical playing. An excellent disc” – Em Marshall
(Musicweb)
“William Mathias’s Celtic Dances proves a very likeable find. There are four dances and all are
engagingly delivered here by the National Youth Orchestra of Wales under Owain Arwel Hughes.” –
Andrew Aschenbach (Gramophone)
“For a youth orchestra as fine as this one, Vaughan Williams’ ‘London’ Symphony is a canny choice:
Under Hughes, memorable things happen; the ‘London’ Symphony’s finale is here as powerful and
moving as you’ll hear anywhere.” - Michael Hayes (Classic FM Magazine)
“Utterly professional sound...there isn’t a weak link... polished and virtually flawless. The NYOW is
probably collectively better now than ever it was.” – Marc Rochester (International Record Review)
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“a world class reading, this is simply a good recording that was made to tickle your ears... the talent
might astound you, this is well worth checking out for a well spent hour of prime classical listening.” Chris Spector (MidWest Record)
“The NYOW... has delivered a neatly produced performance... the NYOW is also fully convincing in its
performance of the ‘Celtic Dances’. Youthful brilliance and full, mid-voice strong sound coloring
characteristic of a completely unique weighting of the symphony [which] sets it apart from other
performances to date. The visionary epilogue can be heard so delicately as one can experience it in only
a few other recordings, [In the Mathias] the NYOW shines with playful verve, rhythmic brilliance of the
percussionists and horns with marked contours. This is a fortuitous publication.” – Klassik.com
“Very fine young Welsh players. The Celtic Dances is pretty well projected by conductor and orchestra”
– Paul Ingram (Fanfare)
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Anja German piano recital
“Certainly a keyboard player to watch out for. Anja German’s unique musicianship comes across with all
the sense of a newly improvised appreciation of genius. This is a CD which I wholeheartedly
recommend. “ – Denby Richards (Musical Opinion)
“Part of 22-year old German’s prize for winning last year’s Manchester competition for young pianists is
this disc and while she is a tad too cautious in the Haydn, the clarity of lines and colour in the Schubert
and energy of the Chopin vindicate the judges.” - Philip Sommerich (Classical Music)
“A successful debut recital, the sparkle in the Chopin, the strength in the Schubert and the feeling in the
Haydn augurs well for a glittering career.” - David Wright (Wrightmusic)
“German delivers the goods in fine style on this solo extravaganza. German powers a delightful program
that must be heard to be believed. Simply an exquisite performance.” – Chris Spector (MidWest Record)
“Her Schubert sonata has many fine qualities: she is well inside the lyrical intensity of the wonderful
Adagio... With the Haydn we are still in C minor, and she tackles this intelligently, too: there is nothing
wrong with her Chopin either, as her forceful execution of the B flat minor Scherzo, fervent and sensitive
by turns, amply demonstrates.” - Piers Burton-Page (International Record Review)
“She acquits herself well... a promising start to a career, and a release worth supporting.” - Peter Spaull
(Liverpool Daily Post)
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Cantilena
“This enchanting disc incorporates music for flute and piano by four renowned composers who are only
too well known and another one which is a complete rarity. Both soloists offer crisp and agile
performances and their playing is continually arresting.” - Gerald Fenech (ClassicalNet)
“Odinn Baldvinsson is a consummately equipped player, capable of terrific fingerwork and able to sustain
lines with formidable stamina. On teh whole I would commend the duo for their bright-eyed vision... [they]
have much to look forward to (this is their debut recording) – the playing is deserving of serious
estimation.” – Mark Tanner (International Record Review)
“The debut recording by this flute/piano duo finds them showing just how much music two players in
synch can make. A tasty treat throughout.” – Chris Spector (MidWest Record)
“A free flowing flute recital....an attractive new Divine Art CD” – Kevin Bryan (UK Regional Press)
24138
Awake O Harp
”This CD is simply brilliant! Rachel Dent is an absolutely outstanding harpist, her selected programme
seeming to display all possible aspects of her sensitive musicianship and harp technique to full
advantage. A revelation of harp playing! Very highly recommended.” – Ian Milnes
“Most of the music is light and colourful, performances are accomplished and the recording, originally by
Dunelm Records in 2004, very natural. Warmly recommended.” - Philip Scowcroft (Light Music Society)
“This is a pleasing programme from a young harpist who is making a name for herself as soloist and
freelance player.” – Jonathan Woolf (MusicWeb)
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“A tasty, classy recording that provides a great break from the noise of the world around us. Simply
delightful” – Chris Spector (MidWest Record)
“What an unexpectedly versatile instrument the harp is! The variety of music here is a tribute to both the
instrument and the skill of the player. The recording of the harp solo is admirable....a winningly offbeat
collection of pieces, very well played.”- John Sheppard (MusicWeb)
“An enjoyable recital... many will be attracted by the ‘Santa Fe’ Suite of William Mathias.” – Peter Spaull
(Liverpool Daily Post)
“An intriguing way to feature solo music for harp, alongside joint contributions from both harp and organ.
The solo harp music is certainly worth hearing.” – Roger Firman (Braille Music Magazine)
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Blow the Wind Southerly
“Ashton and her trio of historical instrument aficionados will put you right back in the bonny folk music
boom of the early 60s, in a good way.” - Chris Spector (MidWest Record)
“To my mind, a concert of English folk songs is one of the loveliest of musical experiences. On a Divine
Art CD, there is "Blow the Wind Southerly: Songs of Life & Longing from the North East of England" as a
good example of what I consider a successful format. The sound of the ensemble is exquisite. I
recommend this Divine Art disc, as I said, as a lovely musical experience.“ - Frank Behrens (Brattleboro
Reformer)
“The instruments used by Concert Royal are authentic. Excellent liner notes...all of the music on the
disc has been carefully researched... and is wholly appropriate for its purpose. The selection is full of fine
and indeed memorable melodies. Margarette Ashton sings tunefully with a clear soprano voice with a
very nice lilt to it and her instrumentalist colleagues provide elegant support” – Bill Kenny (MusicWeb)
“Authenticity seems to be the commandment of the hour and this authenticity influences all aspects of
this performance. John Treherne.. delivers a very solid performance both as soloist and accompanist.
Peter Harrison... and Rachel Gray... are just as good as he is. The instrumentalists deliver something
‘home-made’ but in the best sense phrased out and played freshly musically. Margarette Ashton always
delivers traditional songs unpretentious, simple, home-baked. But even this home-bakedness contributes
to the ideal.” – Erik Daumann (Klassik.com)
24140
Erik Chisholm Music for Piano, vol. 5
“Erik Chisholm is one of a group of British composers who have been unjustly neglected... his music is
original and quiet often groundbreaking. This CD has to be explored slowly and methodically. There is far
too much of interest to just play it from the first track to the last. It is virtually impossible to fault this fifth
volume of an ongoing series. I have found the recording to be excellent... John Purser’s programme
notes are superb. It is altogether a fine production and essential for anyone who is an enthusiast of
British piano music. I believe that Erik Chisholm is so important that his music ought to have
international status rather than just a local interest. I repeat my assertion that this series of CDs
showcase one of the most important ‘musical discoveries and revelations of the Twenty-First Century’” –
John France (MusicWeb)
“Your eyebrows may well disappear into your scalp as you discover what the composer is capable of. I
found McLachlan’s playing to be effervescent and sensitive in equal measure, always clear in its
delineation of the more sinewy strands and yet capable of explosive force where asked... inexorable
artistry. The sound on the recording suits the idiom splendidly” – Mark Tanner (International Record
Review)
“Chisholm is never content to just take a tune and set it simply; his... classification-resistant... voice is
always there. The music is hauntingly evocative and exquisitely delivered by McLachlan. Booklet notes
are exemplary. The fine recording captures every nuance of McLachlan’s excellent pianism.
Recommended.” – Colin Clarke (Fanfare)
Volume 5 reinforces impressions that the first four volumes have engendered.” – Robert MatthewWalker (International Record Review)
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“The best of it is unlike anything else in music... McLachlan [gives] full-blooded accounts of the more
extrovert pieces and fleshes out the thinner ones.” – Martin Anderson (International Piano)
“This album maintains the standard of this series, one of the most worth-while integrales in recorded
history of pianist/composers. A fine recital programme.” – Peter Grahame Woolf (Musical Pointers)
“A rich spectrum of expression of emotional power. Outstanding interpretations...the recording quality is
perfect, the booklet excellent and I can only repeat that this series of Chisholm’s work can be highly
recommended” – Klassik.com
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John Ellis Music for Organ vol. 1
“Although broadly tonal the music shows considerable variety harmonically, ranging from the modally
expressive to the quartal piquancy of Hindemith. Modulations happen by sleight of hand; the pivot
chords provoke marvel, whilst melodies are plastic, limpid and show the influence of plainsong. Ellis’
Variations on Veni Creator Spiritus, an absolute gem of a work... inspires an array of delightful textures
and ingenious working out, culminating in a maestoso closing chorale. In a sense this work
encapsulates what I love about Ellis’ music: its fluidity, its ease of skill, its quiet surprises, its occasional
grandiose outbursts. [Ronald Frost’s] playing is first rate, the recording is excellent... loves of organ
music should not hesitate to buy [the disc], they will not be disappointed.” – David Hackbridge Johnson
(MusicWeb)
“The disc opens with a very fine ‘Allegro and Passacaglia’. This truly is organists’ music.. Ronald Frost
[is] superb and committed throughout. I have much enjoyed exploring John Ellis’s organ music... it has
charm, it is practical and is suitable for recital work. The music is beautifully performed, recorded and
annotated. Even for non-organists it would be well worth searching out.” – Gary Higginson (MusicWeb)
“Works of approachable character and suitable difficulty for church use... music is tonal and falls firmly
into a conservative... idiom... all well made and inoffensive. The noted English organist Ronald Frost
performs well. Recorded sound is fine.” – Carson Cooman (Fanfare)
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Nuages
“Demopoulos’ account...often has a poetic, extemporaneous quality that lifts it into a high category of
excellence. With notes clothed in golden tone, dramatic outbursts and lyrical contemplation are finely
contrasted. Demopoulos plays as if to the manner born. A tour-de-force” – Neville Cohn (Oz Arts
Review)
“Considerable athleticism pervades ‘[the pianist’s] performances... I was taken by a number of features
on the disc... a disarming assembly of repertoire, a naturally captured, almost ‘live’ appearance to the
performances, and the short, intrepid works by Demopoulos himself. The pianist is capable of great
atmosphere as well as projection, and combines well-paced expressiveness and a lively personality.” –
Mark Tanner (International Record Review)
“As can be heard from this well recorded disc, [Demopoulos] has made considerable progress as pianist
and composer. ... I will watch Mr. Demopoulos’ future development, as a composer and performer, with
interest.” - Philip L. Scowcroft (MusicWeb)
“Panayiotis shows he is equal to the challenge [of the Beethoven]. The recording as a whole is always
interesting, well played and well worth hearing. The programme notes by the pianist are erudite and
fascinating, and the recording as usual from this small company is satisfying.” - David Rothery
24143
John R Williamson Music for Piano vol. 1
“Eloquently persuasive performances of Williamson’s unusual and finely crafted works” – John Pitts
(New Classics)
“Here is a remarkable trio of CDs featuring the piano music of John R. Williamson. He has forged a style
that convincingly fuses disparate elements into an organic whole. The lyrical impulse is very strong and
the emotional world is often intense and heartfelt. Time and time again the listener is carried along by
sweeps of modal contours that are enlivened and even subverted by the churning harmonies. The world
is lucky to have a fine composer such as Williamson and he himself is lucky to have a pianist so
dedicated to playing his music as Murray McLachlan. The three CDs are attractively
packaged...recordings are clear and have plenty of gain... powerful music and committed performances.
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Williamson is making an important contribution to piano repertoire in a style all his own.” – David
Hackbridge Johnson (MusicWeb)
“McLachlan reacts to the varied moods like a pianist chameleon. Those tempted to explore Williamson’s
music will not be disappointed” – Colin Clarke (Fanfare)
“Nobody can fault the musical brilliance of the performance. Williamson is best in his shorter pieces, in
which a small idea is often transformed into surprisingly fine-shaped patterns... his mastery of the sonata
form is unquestioned. Grab [the three CDs] with the hope of many volumes to follow.” – Marius Dawn
(Pianist)
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(New Classics)
(Pianist)
24145
(New Classics)
(Pianist)
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A Touch of Class
“The twins have an excellent technique and a lively musicality that enables then to give superb
interpretations. They are so well in control that the whole exercise sounds fun, and this communicates
itself to the listener, resulting in a wonderfully enjoyable experience. Throughout, Rachel and Vanessa,
helped by a superb recording, bring out the clarity of the many varied textures really well. An outstanding
CD, full of joy! Very highly recommended.” – Ian Milnes (MusicWeb)
“Their playing has accomplishment, enterprise and a charming freshness.. They are excellent musicians
and have a wide taste in repertoire. The recording... is very clear and natural and I have the greatest
pleasure in recommending this disc as an introduction to the wide range, both familiar and less familiar,
of the piano duet repertoire.” – Philip L. Scowcroft (Musicweb)
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“Hey, did you know the next Labeque Sisters are coming out of England?” This finds them covering
some well trod Labeque ground and covering it quite well. Good taste that tastes good, like what’s going
on here. A striking new sound that bodes well for keyboards of the future.” – Chris Spector (MidWest
Record)
24147
Mozart & Beethoven Piano Sonatas: (including reviews of previous issue (Calico
CCCR101)
“Direct, pleasingly gracious account of the Mozart. Beethoven performances are ruminative and
clearly considered ... I found my attention firmly held by this pianist's musical individuality. [In the Op.
110] her attention to its structure, notably in the fuga and arioso, is unwavering. Additionally she
compels our attention with an iron-clad sense of purpose and dynamically nuanced phrasing until the
glorious, sonorous closing bars. Her cognizance of Beethoven's ineffable legacy is moving indeed.
her instinctive artistry, warm musicianship, and established appeal to live, listening or viewing
audiences appears beyond question, now and in the future.” - Howard Smith (Music and Vision)
“Elegant, thoughtful, individual without being outré, and exceedingly musical throughout. I enjoyed this
disc repeatedly and each time through, found new things to make me go all slack-jawed at their beauty
and their rightness. One realizes that Crossland thinks closely about formal architecture in a credible and
insightful way. This is a marvellous recital and I cannot recommend it highly enough.” - Scott Morrison
(Amazon)
" [Crossland's] overall approach to these works might be described as 'classically inclined', with clear
definition of inner parts and exemplary articulation of melodic lines. Altogether, this is a recital that
engages the listener's attention and is played with evident and commendable integrity." - Timothy Ball
(Classical Source)
“The more I listen, the more I like these interpretations.. I like Crossland’s sincere lyrical approach and
would definitely love to hear this program from her in the concert hall. After a few listenings, I came
under the spell. On the whole, this is a consistent and well thought-out recital.” – Oleg Ledeniov
(MusicWeb)
“A highly individual player, thoughtful yet compelling, she has the gift of spontaneity in the recording
studio, to carry the personal insights of her interpretations, as at a live performance. She is very well
recorded.” – Ivan March (Penguin Guide to Compact Discs)
“[Crossland] chooses a modern Steinway for this recording. Still she shows much of the thoughtful
concern over details the "learned" school values so highly. I found myself praising the pianist's sincerity
and attention to detail.” - (American Record Guide)
“Crossland’s clean fingerwork and her ability to play off the exchange of passagework between right and
left hands with exceptional clarity serve Mozart well. [In the Tempest Sonata] Crossland may actually
closer to the mark in adopting a significantly slower tempo than we’ve grown accustomed to. [In Sonata
No. 31] Crossland delivers some very lyrical expressive playing.” – Jerry Dubins (Fanfare)
24148
Marcus Blunt – Aspirations
“Works of real depth and substance ... brilliantly played by McLachlan. Blunt is extremely lucky in his
pianist Murray McLachlan who does so much to bring out all the beauties and attractions of these works.
The recording is excellent and there are booklet notes by the composer.” – The Classical Reviewer
“Blunt displays a fertile imagination and is served in exemplary fashion by the indefatigable Murray
McLachlan. Magical performance… A fascinating introduction to a composer whose music deserves
wider currency; recommended. Colin Clarke (Fanfare)
“The music is not quite romantic… the mode is often chromatic with definite tonality. Blunt works within
an extended palette that … goes its own way in a rhapsodic, mostly quietly reflective manner. Murray
McLachlan brings out the nuances and mood of the pieces nicely, It is recommended for those who want
something refreshed yet familiar somehow. Good music!” – Grego Edwards (Gapplegate Classical
Modern Music)
“The music of Marcus Blunt inhabits a comfortable harmonic space ranging from freely modal to a
controlled, contrapuntal chromaticism. There are a handful of quite rewarding pieces here – especially
the balanced, thoughtful Sonata No. 2.” - Ryan Vigil (American Record Guide)
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“The Third Sonata is a lovely work, finely constructed. The three Nocturnes are each beautiful and are
each identifiable night music.” – Colin Clarke (Tempo, on original Dunelm release)
“A most enjoyable recital , attractively recorded and played with typical sensitivity by a pianist fully in
sympathy with the music’s demands and nature-mystic moments.” – Jonathan Woolf (MusicWeb, on
original Dunelm release)
“Marcus Blunt is a talented English composer who deserves greater recognition. This collection of his
compositions for piano [is] sensitively performed by Murray McLachlan Highly recommended.” – Colin
Stanley (Amazon customer review)
“From personal experience, I would class the British composer, Marcus Blunt, as very much a
musician's composer, not only a delight to play, but also to listen to.” – ‘FarmersgirlCook’
24149
Erik Chisholm – Music for Piano, vol. 6
“I was impressed with the sheer magical quality of this music. The playing is superb... the programme
notes are extensive and excellent. This is, and will remain, the definitive edition of Erik Chisholm’s piano
music for many years to come. A magnificent effort. It is a monument to Scottish, European and World
music by any standards of judgement.” – John France (MusicWeb)
“The tunes are handled with imagination but most of all, affection. McLachlan triumphs wonderfully.
Worthy of more exposure in the concert hall... another stimulating volume from McLachlan” – Colin
Clarke (Fanfare)
“One especially important collection, Night Songs of the Bards... embraces a wide range of rhythmic
complexity and lyric introspection. [Murray McLachlan’s] technical armoury and ear for colour are both
impeccable and he brings these pieces to life with tremendous intensity and panache. With a good
recording and booklet notes, those who have been following this series will eagerly wish to acquaint
themselves with this release.” – Jonathan Woolf (MusicWeb)
[This volume] contains two of what appear to me to be among Chisholm’s finest achievements. This is
music of quite outstanding quality... utterly delightful. There is no doubt that Murray McLachlan’s
enterprise is deserving of the highest praise.” – Robert Matthew-Walker (International Record Review)
“The piano great, McLachlan, strays from his romance with Russian piano masters to tackle the sounds
of other spaces... One of our great musical sherpas, McLachlan is always worth checking out once he
gets a new journey going” – Chris Spector (MidWest Record)
24150
SMILE
“Recorded in aid of Macmillan Cancer Support, a charity close to Carol Jarvis’s heart for very personal
reasons, Smile is an entertaining and highly polished showcase of the soloist’s versatility on the
trombone. This beautiful, often touching and always entertaining CD is a perfect demonstration of her
passion for both causes [cancer support and music].” – Christopher Thomas (Music Web)
“Beautiful jazz ballad playing... all of the arrangements are well done. Astonishingly beautiful playing of
beautiful melodies ... impeccable pitch and perfectly placed articulations ... beautiful sound and phrasing.
Everything about her trombone playing and her life is truly remarkable. You will thoroughly enjoy this
musically mature performance.” – Deb Scott (ITA Journal)
“Beautifully played... a wonderful testimony to the talent and spirit of a very remarkable musician” –
Robert Beale (Manchester Evening News)
“wonderful album... produced for the benefit of Macmillan Cancer Support. In addition to the good
cause, I enjoyed hearing it very much, hope to hear more from Carol.” - Brian Wilson (MusicWeb
Download Roundup)
“A musician worth hearing... an album of high-grade easy listening” – Fred Dellar (Mojo)
24151
‘Composés par Mr. Hayden’
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“The Fitzwilliam Quartet give faithful accounts of these Haydn quartets, full of character and expression,
enhanced by the zip of spontaneity and tang of period instrument tone and style. In most respects I
preferred them to the three performances [by the Kodaly Quartet, the Lindsays and Quatuor Mosaïques]
I chose for comparison. The recording has great immediacy yet is suitably intimate, close but not
claustrophobic.” - Michael Greenhalgh (MusicWeb)
“Lively charming music that feels like it could add class and elegance to any set of speakers it touches.
A delightfully upmarket recording....[listeners] will find this quite hard to resist. Well done” – Chris
“Memorable live performances eminently worthy of issue...marked by a balance and maturity of
conception.. the early quartet is thrown off in a thoroughly winning fashion, with a deliciously light touch...
In Op. 77/2, one of the masterpieces of the genre, Haydn’s sublime ... mastery is complemented by
playing of rare insight.” – Brian Robins (Early Music Review)
“Attractive programme. Played on period instruments and recorded live..., the set as a whole is one to
rejoice in.: - David Cairns (The Sunday Times)
"An imaginative programme which places an early work alongside two mature masterpieces.
The spontaneity of Haydn's musical invention is particularly well served by the energetic playing of the
Fitzwilliam Quartet. Performance: **** (Excellent) Recording: **** (Excellent)” - unnamed reviewer
(BBC Music Magazine)
“Splendid concert... although the Fitzwilliam is a quartet that uses period instruments, it phrases lyrically
rather than choppily, it has wit and humor, joie de vivre, and a sparkle missing from a great many of its
historically informed brethren...I certainly recommend this CD as an example of how one can play period
instruments and still sound involved and charming.” – Lynn René Bayley (Fanfare)
“The programming of this concert, recorded live on this disc, is certainly commendable. For those who
like their Haydn on period instruments, this live performance by an eminent string quartet ensemble
might be a disc not to be without.” – Burton Rothleder (Fanfare)
24152
Strings in the Earth and Air
(including reviews of original issue on Dunelm)
“The Seven Poems of James Joyce (1929) is a minor masterpiece. It is once again an ideal combination
of words and music. The sound quality of the vocal line on the CD is crystal clear – although sometimes
sounds a little bit distant. Paul Martyn-West has a lovely voice apt to interpreting these songs. He is well
able to imbue each song with its own character. Niger Foster is a sympathetic accompanist. This is a
really interesting CD... I feel that it is an essential addition to the library of anyone who loves the ‘English
School of Lieder.’” – John France (MusicWeb)
“This is a fine disc. Paul Martyn-West has a gentle voice - soft-toned, evocative and uniquely
pleasantly. He has excellent enunciation, well-controlled vibrato and a deep love and knowledge of
English solo song that shines through. Martyn-West is extremely good at bringing out the emotions,
nuances and meanings of the texts. The disc contains a rewardingly extensive programme note by
Martyn-West that is informative, interesting and well-written. The texts to all the songs are provided.
This disc contains a good range of songs, from dreamy and melancholic through to dynamic and lively,
thus demonstrating the versatility of the artists. Definitely a disc for lovers of English solo song.” - Em
Marshall (MusicWeb)
“Warlock’s songs are the best of the lot... particularly delicious. Martyn-West’s voice is a classic
English choir tenor... a sweet gentle voice... truly lovely,,, that is well suited to these songs. Foster is an
able and responsive collaborator.” – R. Moore (American Record Guide)
“The material is extremely interesting, the performances are lively and musical, and pianist Nigel Foster
is superb. Paul Martyn-West ... does have exemplary diction and his interpretations are quite good.
Excellent music sung with affection, musicality ... Therefore I recommend this disc for the music and
the interpretations” – Lynn René Bayley (Fanfare)
“The Seven Songs of James Joyce are some of Moeran’s most impressive songs. Paul Martyn-West
and pianist Nigel Foster perform them with keen intelligence and musical shape. They also bring a
lighter, more questioning intimacy to the complex Three Songs [of Warlock]. Geoffrey Stern’s songs are
attractive... finely done and well worth getting to know. This engaging recital should find a receptive
audience among lovers of British song.” – Jonathan Wolf (MusicWeb)
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“All well worth hearing. With idiomatic performances and good recording, this is well worth seeking out
by lovers of English song looking for something unusual.” - Brian Wilson (MusicWeb Download
Roundup)
“A well balanced programme and clean, clear studio performances... sung and played with
understanding care. Sadly Geoffrey Stern died in 2005... we are left with a taste for more. The CD is an
appropriate memorial.” – Patric Standford (Music and Vision)
th
“Spirited early 20 century British songs. This vocal/piano combo have their fingers on the pulse of the
material.” – Chris Spector (MidWest Record)
24153
Lads of Love and Sorrow
(including reviews of original Dunelm issue)
“[Williamson’s] unflinching dedication to composition has helped him develop his own individual style
through palindromic techniques of rhythm, harmony and melody together with modal and pentatonic
characteristics. Baritone Mark Rowlinson, sympathetically supporter by pianist David Jones, sings with
meticulous and exquisite delicacy... superb artistic ability. First rate sound and notes complete a truly
fine addition to the English song Canon. Recommmended.” – Gerald Fenech (Classical Net)
“The twenty songs here find a first-rate advocate in the experienced Mark Rowlinson whose delivery is
clear and his diction outstanding. Equally importantly he is positively supported by pianist David Jones,
as much of the musical argument of these songs lies in the often chordal accompaniment, whose piano
writing is so characteristic of this composer. Strongly recommended to lovers of English song and of
Housman settings in particular.” - Philip L. Scowcroft (MusicWeb)
“This anthology ... is filled with pleasing, tranquil settings in the respected tradition of English song. They
are intelligently grouped by subject: love, war sorrow etc, leading the listener through a range of
emotions. Overall, an interesting and worthwhile recording, well presented with full texts and notes.” Serena Fenwick (Classical Pointers)
“[The songs] are pleasant and engaging... an enjoyable hour of listening. [Rowlinson] is a terrific
musician, he is very sensitive to the texts and to the differing moods of the song, and he does sing in
tune and with a firm rhythmic pulse. David Jones is an involved, sensitive pianist; it is praiseworthy for
Diversions to have provided texts... there are helpful notes on the songs by the composer. I am glad to
have heard this disc,.” – Henry Fogel (Fanfare)
“Mark Rowlinson sings well. The core of his voice is a warm, round baritone but he’s got a good top
range too. David Jones supports him proficiently. The [Byron and Coleridge songs} I found the most
attractive ... I stood with the dead is a particularly imposing song; its music is impassioned. Williamson’s
songs are worth hearing and it’s good that they’ve been given this exposure.” – John Quinn (MusicWeb)
“ In his music, Williamson consistently matches the emotional nuances of Housman’s measured verses.
Baritone Mark Rowlinson and his pianist range effectively from the lyrical to the dramatic – “’Tis five
years since” is particularly arresting.” – Peter Parker (Nottingham Evening Post)
“The music covers a wide range of emotions and makes a powerful impression,. Mark Rowlinson copes
with both the technical demands and range of these songs. David Jones accompanies most
sympathetically. Williamson’s love of Housman and eloquent music continue to impress and he is surely
among the most important living British songwriters” – Patrick Waller (MusicWeb)
24154
British music for Piano Duo
“A wonderful recording of piano rarities, expertly performed. Gustav Holst's original two piano version of
The Planets was in and of itself complete. The pictoresque, evocative, symbolic and elemental essence
behind the music was all there ... it was already a masterpiece in its original two piano version.
Goldstone and Clemmow have everything planned out so well, that the choice of instrument becomes
irrelevant. I will not go into any detail about the other pieces on this CD, except to say that they are all
wonderful little gems within the two piano repertoire, and act as great appetizers before the main course.
If you are piano fans, Holst fans, Planets fans, or Goldstone and Clemmow fans, and missed out on this
recording in its original incarnations, don't make the same mistake twice. This is musicianship at its best,
in ear opening interpretations.” - Jean-Yves Duperron (Classical Music Sentinel)
“Restores Goldstone & Clemmow’s terrific all-British recording ... in some style with an attractively laid
out booklet note. [The Elgar Serenade makes for most diverting listening allowing one to hear the
harmonic development with that much more immediacy. Goldstone & Clemmow play The Planets with
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genuine percussive intensity. They manage to convey the writing, on its pianistic lines, as a valid musical
experience in itself. This excellent disc thus presents an enjoyably varied programme offering a
revivifying slant on British piano music.” – Jonathan Woolf (MusicWeb)
“This is my first exposure to the piano team of Goldstone and Clemmow and it certainly makes me want
to hear more from them. They possess subtlety, power, elegance and intellect. This CD deserves to
reach an audience well beyond that of lovers of obscure two-piano literature.” – Dave Saemann
(Fanfare)
“Gustav Holst wrote a great deal of wonderful music, but it remains a mystery why he never again
produced anything as invigorating, memorable and original as The Planets. So it is all the more intriguing
to encounter The Planets in a new and startling guise... a performance which, as here, seems positively
to revel in this new-found leanness, sometimes even percussive glare. I defy any listener not to be
shaken and stirred. [The Elgar] arrangement comes off surprisingly well, not least because the more
brittle sound of the piano adds a distinct, even welcome, touch of muscle to the contours of the piece.
The mixture on this disc of old wine in new bottles, together with a splash of Beaujolais nouveau, is one
to savour.” – Piers Burton-Page (International Record Review)
“Holst knew that only a large orchestra could do full justice to his Planets but this recording by the
brilliant duo Anthony Goldstone and Caroline Clemmow show precisely what can be gained in a two
piano performance. Elgar’s duet version of his Serenade for String Orchestra provides a complete
contrast, lending itself well to the piano in a performance of intimacy, with the music never forced.
[Bury’s] Prelude and Fugue gets a wonderful performance on this disc bringing out a real depth of feeling
in the prelude and providing a scintillating fugue. Bainton’s short Miniature Suite for piano duet is
something of a small gem. There can be no doubt that Anthony Goldstone and Caroline Clemmow are
one of the finest piano duos around and the recording ... is full, clear and detailed.” - “The Classical
Reviewer”
“As with all of their releases so far, I find the choice of repertoire matched by {the duo’s] fabulous
performances. These are two consummate musicians completely in tune with each other’s playing.
Inventive programming that has uncovered many unknown works and resurrected others has made them
one of the most enjoyable duos I have become acquainted with over the past several years.” –
Harrington (American Record Guide)
“Goldstone and Clemmow are tremendous in The Planets, its dissonances startlingly modern.”
Performance  Recording  Daniel Jaffé (BBC Music Magazine)
“... how effective the score [The Planets] sounds on two pianos ... remarkable translucence ... highly
evocative. Altogether a great success.” – Penguin Guide to Compact Discs
“The two-piano version of The Planets .. is a valid account of this work that inspires, excites and often
astounds. [Bury’s] Prelude is a masterclass in the genre of English ‘pastoral’ ... [Bainton’s] Miniature
Suite is a perfect small-scale outing. This is an important release from Divine Art. The recording is
excellent. The playing of all the works is superb.” – John France (MusicWeb)
“this admirable disc ... imaginative and communicative performances... Their joint virtuoso flair sets the
adrenalin rushing ... warm recorded sound... An enterprising disc to learn from as well as enjoy.” –
International Piano
“Yet again a Goldstone Duo recording is never less than worth exploring and here, with music from this
sceptred isle, you’ll assuredly find yourself inescapably attentive.” – Howard Smith (Music & Vision)
“[Bury’s Prelude and Fugue is] rhythmically audacious ... the Elegy part-writing remains clear and
smoothly lucid: the music gathers a quiet momentum, grave and even colossal at moments. [In The
Planets] the quick splash and shift of keys and textures certainly argue for the gymnastic abilities of our
keyboard duo. More than esoteric or pedantic value, serving as an insight into the composers’ vertical
thinking.” – Gary Lemco (Audiophile Audition)
“absorbing recital... the keyboard duo do full justice to this mighty creation [The Planets]” – Kevin Bryan
(UK Regional Press)
24155
Erik Chisholm, Music for Piano vol. 7
“This is the authoritative edition of Erik Chisholm’s music. We are fortunate to have such an exemplary
production... it is hardly possible to listen to [the 7 CDs] and not wonder how such an important
contributor to the literature of the piano has gone virtually unnoticed by lovers of piano music... ought to
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have international status.... the liner–notes by John Purser are essential reading. The sound recording is
superb. I repeat my assertion that this series of CDs showcases one of the most important musical
discoveries and revelations of the 21st century.” – John France (MusicWeb)
“[A] major series of recordings. Bravo to all involved over at that enterprising record company, Divine Art,
and to McLachlan for his clear devotion to this music.” – Colin Clarke (Fanfare)
“Includes the four Elegies, a concentrated and cohesive group of pieces which no-one.... will want to be
without. McLachlan’s conviction, his effortless technique, his avoidance of exaggerated rubato and the
clarity of his textures, aided by the enviable acoustics and excellent piano, and the intimate but not
intrusively close microphone placement, all combine to make [this last CD of the series] more than a
mere tying up of loose ends.” – Michael Graubart (Music and Vision)
“Chisholm was a master of the piano miniature... five Elegies, quasars in piano form... Suites are jampacked with inventive, subtle and tantalising rhythms, harmonies and effects. [an] outstanding piano
series.” – Byzantion (MusicWeb)
“Murray McLachlan has done a very fine job in his seven CDs of Erik Chisholm’s piano music and the
music world should be very grateful to him. It is time that people started listening to [Chisholm’s] piano
music. Much of which has the essential quality of greatness which is originality... I would say that his is
an independent just as Janacek was. In Chisholm’s music there is sometimes an uncompromising
virtuosity which McLachlan is certainly equal to. If music is about communication, then both the
composer and performer have succeeded.” – David Wright (Wrightmusic)
“Of tartan clichés and petty-coat shortcake there is thankfully none. Music quaffing deep from the
authentic Celtic aquifer” – Rob Barnett (MusicWeb)
24156
Flute Vocalise
“Spectacularly fine playing ... beautiful flute phrases and idiomatic piano part ... performance of such
care and sensitivity ... there is much to enjoy on this beautifully played and produced disc.” – The
Classical Reviewer
“Smith brings ... evenness of tone and an individual singing quality throughout the register and always
with flawless intonation. [His] wonderful clarity in the high register is exceptional... [his] ability to make
seamless, dramatic shifts in colouring is simply inspiring. These tunes may be well-known old warhorses
but you could not better their performance.” – Daniel Shao (Pan – The Flute Magazine)
“The first word that comes to mind when listening is ‘singing': the title is chosen perfectly! Smith plays in
a smooth and silky French style with the most beautiful legato. His playing is elegant and graceful, even
when playing high in the third register! In addition, Smith is a fiery virtuoso. A special flautist and a
special CD” - Wieke Karsten (Fluit, Netherlands)
“A varied, extended and delightful treat for jaded ears.. Smith is effortlessly superb in his coloratura
technique and expressive phrasing, filling these works with clean summer oxygen and a sprightly skip.
This is a recital to savour enhanced by good quality audio.” – Byzantion (MusicWeb)
“Beautiful and sensitive renditions of what is now regarded as standard flute repertoire. Paul Rhodes is
the ideal accompanist, never overpowering and always follows the soloists' every nuance. The
performances seem effortless, always the signature of great performers.” – Robert Brown (South
Australian Flute News)
“A complement to the remarkable triple CD (DDA21371). The title, ‘Beloved Concert Classics’ speaks for
itself. [Smith and Rhodes] deliver a veritable lesson in style.” – PG (Tempo Flute)
24157
Peter Katin plays Brahms
“[Katin ] performs with so direct, so honest a perception, that the music unfolds quite naturally and very
beautifully. Technical assurance and musical understanding... exceptional dexterity and a sure sense of
colour... the utmost conviction, concentration, buoyancy and command. Katin keeps one spellbound
through his utterly magnificent reading. I can only repeat that the performance throughout this disc are
magnificent” – Jonathan Woolf (MusicWeb)
“The Op. 116 pieces are not as familiar as they might be, but this is a performance to remind one just
how good they are. [Katin’s] rubato is of the best kind that one doesn’t notice as such... we also get the
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richness that is characteristic of the music, We must also than the chosen piano and location as well as
the engineer for the very natural sound. [In the Variations].. this is an attractive performance... satisfying
too and beautifully recorded.. splendid value at mid-price and nearly 80 minutes of music.” – Christopher
Headington (Gramophone)
“Any disc by Katin is warmly welcome. He is, without doubt, our finest pianist. The late piano music of
Brahms is melodious, intimate, sensitive graceful, often beautiful, nostalgic, lyrical and perhaps full of
yearning.It calls for a pianist of impeccable understanding and in Katin we have that pianist. The playing
is articulate, accurate, reliable, glorious, serene, intelligent, masterful, superlative and it is unequalled
playing,... you will not have to think twice about buying this CD.” – David Wright (Wrightmusic)
“It is good to be reminded now and again how skilful [Brahms] could be as a miniaturist. Katin is in his
element, moulding the ... phrases with complete mastery. The sound has concert-hall freshness. Katin
on magnificent form.” – Robert Anderson (Music & Vision)
“Katin was once one of British pianism’s big beasts, and this CD, though short on the requisite soulful
beauty, reflects his swashbuckling style. The variations have compelling force.” - Michael Church (BBC
Music)
“Peter Katin has an obvious love for the music of Brahms and the technique to pull it off. One gets the
impression that his Brahms is a powerful one, thick in texture and serious, yet he never sounds
monotonous. Brahms’s late music truly shines in Katin’s hands... a formidable recording.” – Scott
Noriega (Fanfare)
“It is evident immediately that Peter Katin is an arresting pianist with a fine command of the keyboard.
He is a dexterous performer and his Op. 117 Intermezzos bring out the beautiful density of texture in
these pieces. Many should enjoy this testament to a fine pianist’s storied career.” – Kang (American
Record Guide)
62401
Little Pieces
“Most of the tracks on this disc are by Jim Hoke and they’re all delightful. Fauré’s Pavane is really lovely,
and the Satie and Milhaud miniatures readily lend themselves to this kind of arrangement. This disc has
been one of the most unusual and enjoyable experiences this year. There’s nothing but good feeling
here, and it’s very laid-back and cool.. the kind of disc you might return to when you want cheering up.
Purely for enjoyment.” – Bob Briggs (MusicWeb)
“Hoke and company let the good times roll. This is a delightful new side to one of the hardest working
men in show business.” – Chris Spector (MidWest Record)
62402
The Finck Album
“Spirited Estonian performers, charming British theatre music: a delightful mix. Selections from
Decameron Nights show Hermann Finck at his best.”  Geoff Brown (BBC Music Magazine)
“As with the companion Monckton album the cast and orchestra provides crisp pleasure. We hear right
from the opener that the small band is well attuned to the Light Music theatrical genre. You will enjoy
this album of Herman Finck’s easygoing music. It certainly deserves to stand alongside the better known
Monckton.” – Jonathan Woolf (MusicWeb)
“An excellent cross-section of Finck’s music; this music is good, well written and enjoyable.. Divine Art ...
have captured the mood and the spirit of Edwardian times ... this CD is a piece of musical archaeology: it
is exciting to unearth it some 90-odd years after it was composed. The singers and the band sound
perfectly home in the music hall environment.” – John France (MusicWeb)
“Finck’s music and the sounds of the voices are very pleasant indeed. The orchestral and vocal
interpretations are true to that era [when the music was written].” – Maria Nocklin (Fanfare)
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Section 3 – Divine Art 21000 series (multi-CD sets)
21201
Sullivan: Haddon Hall:
“This is a set that will give pleasure for years to come.. a most welcome addition to the Sullivan
discography” Marc Shephard, Gilbert & Sullivan discography)
“Another winner….not to be missed” – Musical Opinion
“most impressive…very professional…...chorus is excellent.. recommended” – FRMS Bulletin
“the whole score is masterly…the soloists and chorus recreate the authentic period style with
élan...enjoyable and well-recorded…booklet notes are excellent…..most recommendable” – International
Record Review
“[Haddon Hall] is..an undeserved obscurity, as this splendid new recording from the Divine Art amply
proves. The score is prime Sullivan; he never wrote a lovelier aria than "Queen of the Garden bloomed a
rose." Haddon Hall......is......nearly flawless. High praise for the excellent cast. Good choral singing
especially, and fine playing by the orchestra. A libretto is included. .. a true find, and highly
recommended.” - James Canmer, Fanfare
"The opera comes vividly to life in this excellent recording.. will give much pleasure" - Penguin Guide to
CDs (ROSETTE WINNER)
21202
Schubert Piano Masterworks, volume 1:
“Excellent sound and beautiful, well-shaped performances of admirable elegance and supreme style. If
you like Schubert you can but love these discs. Superbly played...Goldstone has the ideal interpretation.
....what is so tellingly obvious is his love for this music. You won't find a better champion. Mr Goldstone
is really superb. (Classical Music on the Web)
“Anthony Goldstone brings a nice sense of shape and flow to the music……….very imaginative and
enjoyable (Northern Echo)
“The more I listened the more I was impressed by his sound technique, linear clarity and solid musical
structures” - American Record Guide
“Goldstone's two-disc recital will give pleasure to those who like their Schubert presented with nononsense directness" Performance  Sound  - Richard Wigmore – BBC Music
Magazine
“an appropriately intense and stimulating performance…..extraordinarily brilliant…well recorded and well
presented…..fully recommended” – Arthur Baker, FRMS Bulletin
"a compelling presentation of Schubert's almost impossibly lovely piano music… thoughtful and often
touchingly beautiful music-making” - Bernard Jacobson, Fanfare (USA)
"a Schubertian of the first rank…, combining imagination, intellectual grasp and alert keyboard
command…his readings of the two late sonatas are most distinguished, with a spiritual focus that lifts
them above the ordinary… a thoroughly rewarding listening experience." - John Kersey (International
Piano)
" a fine sense of overall structure, technical brilliance and absolute clarity - the piano sound is very good"
- The Schubertian
21203
"[This is].. a technical triumph. The immediacy of the recording generates a magical sense of actually
being in the same room as the instrument. Add to that Goldstone's crisp and alert playing and you have
a delightful series spread over two fun-filled CDs. " - Kenneth Walton (The Scotsman 18.03.02)
"Goldstone is a native speaker of Schubert in the highest degree……. all of the performances on these
two discs reach a high standard both of imagination and of technical mastery. Goldstone tends to like his
tempos on the fast side, but he is never insensitive, and his impulsive willingness to take risks - for
example, toward the end of the first of the Three Pieces, D. 946 - makes even a player of Brendel's
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perceptivity sound unadventurous, almost bland. When we come to the late A major Sonata D. 959
"high standard" would again be a woefully inadequate term to apply to Goldstone's performance. This is
perhaps the greatest version of the work I have ever encountered, either live or on disc. The first
movement is magisterially paced……. In the superb Andantino - a kind of dreamlike barcarolle that veers
from mourning to consolation, then to volcanic fury and back - Goldstone's command is total, the effect
he creates devastating.. With Goldstone, we find ourselves in a trice transported to another world. The
attentiveness to accents throughout, and the character with which he imbues even the simplest lefthand chords as in the scherzo, are merely two examples among many that bespeak mastery on the
highest plane." - Bernard Jacobson (Fanfare)
"one of the finest recordings ever made of this work [A major sonata]…. Throughout Goldstone displays
a gripping sense of musical drama and structure, a natural feeling for the rhythmic ebb and flow of a
phrase, and a singer's feeling for the dynamic arch of a melody….. I have not heard a more impressive
Schubert piano recording in recent years" Charles Timbrell (International Piano)
"Anthony Goldstone is in my opinion an ideal interpreter of Schubert who always seems to be as one
with the music, without false emphasis or exaggeration. The recording and presentation is first rate, with
excellent notes written by the pianist. It is recommended without reservation."
Arthur Baker (FRMS Bulletin)
“Goldstone’s overall approach is convincing… it is D593 No. 2 that emerges as an unexpected highlight
of the set, with its positively glittering right hand. In fact, Goldstone holds a special affinity for these
shorter pieces: the Valses nobles, D969 are characterised by good, clean playing, a fine sense of the
underlying rhythm and not a small amount of cheek on occasion!. The Adagio in E, D612 of 1818 is
another discovery, a lovely piece handled with great care in the present instance…” - Colin Clarke
(MusicWeb)
21204
“…outstanding readings that easily compete with the best available. There is both joy and elation to the
interpretations--and an intensity and natural flow that is not always easy to achieve… a recital that
cannot be praised too highly. Schubert lovers will know how to proceed.” – American Record Guide
“..outstanding sound, and performances never less than excellent, round out Anthony Goldstone’s series
of Schubert’s piano masterworks…. Goldstone holds his own with the exceptional recordings by Kempff,
Uchida and Cooper. An additional plus is that each of the 2CD sets can be had for just the price of one
premium disc. I heartily recommend that Schubert piano enthusiasts find a spot in their music libraries
for Mr. Goldstone.” - Donald Satz (Musicweb)
“[the Reliquie] sonata receives a worthy performance without excesses and with great clarity of
articulation; Goldstone' s composition of the four bars missing from the original edition in the second
(variation) movement -Schubert's manuscript having been lost - sound natural in their place. Two
additional pleasures come in the shape of an Allegretto in C (also completed by Anthony Goldstone) and
Schubert's single Diabelli Variation - and Goldstone should now be congratulated on the completion of
his three-volume account of Schubert's piano masterworks.” - Arnold Howarth (The Schubertian)
"Goldstone is a Schubert pianist of exceptional ability...his notes on the music illuminate it and are of the
highest standard...magnificent performance [D899 Impromptus]...no one has presented better advocacy
as in the beautifully played and presented set of which this is the third and final part. Recommended
without reservation" - Arthur Baker (FRMS Bulletin)
"There is a refreshing, almost down-to-earth quality in Goldstone's musicianship which leaves it free of
pretension, artificial poeticism, or over-dramatisation… at mid-price, a seriously good bargain." - Michael
Tumelty (Glasgow Herald)
“Anthony Goldstone is quite the superb artist, and it is obvious from these recordings that Schubert is
very near and dear to him… it becomes clear that Goldstone has lived with this music and brings to it a
depth of understanding.” - Jerry Dubins (Fanfare)
“Anthony Goldstone has done some marvellous work in piano transcriptions of symphonies… I find his
playing to be consistently pleasing to these ears.. as an introduction to the piano works of Schubert , this
set and its earlier companion volumes afford a nice place to start” - Frank Behrens (Amazon.com)
“The playing, the booklet notes (Goldstone, commendably, writes his own) and the whole production
speak of a dedication which is entirely praiseworthy… The set of seventeen Ländler that open this
collection is immediately attractive. The clean fingerwork and careful pedalling are in fact typical of
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Goldstone’s playing throughout this set. The recording is a model of clarity, retaining at the same time
the fullness of the piano tone… Goldstone’s innate musicality is ever-present here (in the Impromptus)…
The sense of dramatic tension Goldstone brings to the A minor Sonata, D845, is more than welcome”. Colin Clarke (MusicWeb)
“At his best, Goldstone is an excellent Schubert pianist, as is witnessed particularly in some of the
shorter pieces. [Goldstone’s completions of the unfinished Sonata] have a sensitive feeling for what
Schubert might have done…” John Warrick (International Record Review)
“Goldstone is never less than interesting, and he is thoroughly distinctive when he turns on the power
and impetuosity... When he does, such as in the Four Impromptus, he's among the best Schubert
pianists on record… Recorded sound is superb with a very wide soundstage ready to pick up every
nuance and detail. Its dynamic range is outstanding, and Goldstone's dynamic range is also wide.
Summary: A hearty recommendation for this volume and the previous ones as well. Goldstone is a
major-league pianist who compares well to the Schubert of Kempff and Uchida.” - Donald Satz
(Moderated Classical Music List)
“Goldstone’s feel for phraseology and motion are notable… Goldstone the composer is to be admired”International Piano
21205
Louis Glass Piano Music
“Seivewright’s interpretations are fastidiously detailed… he plays with a winning ease and fluency. A
fascinating opportunity to discover one of Denmark’s most talented musical sons” – Gerald Fenech
(ClassicalNet)
“Music from a pianist who feels every note.. The double-CD is one of the finest to appear in recent
times.” – The Statesman (Calcutta)
“Peter Seivewright provides testament to his productive curiosity in opening up new parts of the
repertoire. This production, published by Divine Art, shows that the exercise is worthwhile. With loving
attention to detail and a majestic touch, Peter Seivewright understands just how to bring out the varied
emotions of this music. This splendid recording demonstrates that Louis Glass belongs to that class of
composers who should have earned a firm place in the repertoire. – Tobias Pflegler (Klassik.com)
“[Seivewright’s] playing is cool and precise... the recorded sound is first rate. For those with an appetite
for underserved Romantics (and there are many of you) this disc is worth a look.” – Michael Cameron
(Fanfare)
“Peter Seivewright is a powerful and obviously convinced exponent who once again shows his mettle
here.” - Jonathan Woolf (MusicWeb)
“Good to see the enterprising Divine Art label honouring Glass’s piano music. Seivewright proves
conclusively that this is music fully deserving of attention. The final pages of the First Sonata are almost
Brucknerian in their majesty especially as rendered here by Seivewright, and as captured by his
excellent engineers. Seivewright is a most sensitive guide to this music.” – Colin Clarke (Fanfare)
“Of the two sonatas, the A flat major is a piece of great nobility, well structured and highly integrated
thematically. It wears its Romanticism coolly. But Glass’s major strength lies in the exquisite, often
wistful and charming small lyric pieces.” – Michael Tumelty (Glasgow Herald)
“Seivewright [plays the sonatas and Fantasy] like they’re late Beethoven (or Celibidache conducting
Bruckner): the approach really works, too” – Records Unlimited
“For me the smaller pieces were more interesting… fine playing” – Graham Topping (Oxford Today)
21206
Exequy and Elysium
“Cook obviously knows his way around the organ, and can conjure an attractive and varied palette. The
content of the music is also very much a question of taste. I can imagine this set filling the gap in a
collection for which an atmosphere of safely conventional and contemplative organ music will be a
valuable addition.” – Dominy Clements (MusicWeb)
“Clearly and idiomatically written for the organ, the music harks back to an earlier age of church music...
this is not to deny the real beauty and emotional sincerity of these finely crafted reveries, meditations
and celebrations.” – Records International
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21209
Voice of Brazil
“This new edition of the recordings with Anna Maria Bondi provides an extraordinary and impressive
interpretation of the vocal works of Villa-Lobos and constitutes a remarkable record.” - Julia Eberwein
(Klassik.com)
21210
Avison Concerti after Geminiani
“This is music of outstanding quality The performances are outstanding. The band is richly sonorous;
the ensemble is faultless; the tempi are seemingly infallibly judged; the phrasing is subtle and
expressive; and virtuoso solos are dispatched with aplomb. What more could one possibly want? They
must surely be one of the finest baroque ensembles now in existence.” - Richard Maunder (Early Music
News)
“The performances of this immensely appealing set of concertos are outstanding… what is remarkable is
the rich depth of the playing. An exceptional issue in every way.  - Brian Robins (Goldberg)
“Outstanding quality… a delight from start to finish. The playing is brisk and light, the textures clear and
the overall ensemble well-nigh perfect. Beznosiuk is on stunning form. Recorded sound and overall
presentation are also of the utmost quality” – Robert Levett (International Record Review)
“This set of concerti grossi is an important discovery. Not only is it a fine tribute to the art of Geminiani,
but it also reflects the admiration for the master, not just by Avison, but by English music-lovers at large.
These concertos give plenty of evidence of Avison's great qualities as a composer, and one can only
hope other compositions – such as his chamber music and vocal works - are to be explored in due
course.” - Johan van Veen (MusicWeb)
“Charles Avison was one the most significant figures in eighteenth century English music. These are
first-rate eighteenth century concerti grossi, and the Avison Ensemble plays them in a relaxed, very
easygoing fashion. A worthy undertaking that whets the appetite for what might be in store with future
instalments.” – Dave Lewis (Allmusic)
“spirited performances… beautifully characterised playing” – Elizabeth Roche (The Daily Telegraph)
“Throughout the recording, the Avison Ensemble responds to Avison’s full 7-part texture with warmth and
flexibility. Pavlo Beznosiuk’s violin playing is also impressive, with finely judged phrasing, and
ornamentation that is both inventive and ... some wonderfully articulate cello playing, not directly credited
but presumably by Richard Tunnicliffe. The sound quality is superb too” – Robin Bigwood (The Consort)
“Avison's arrangements preserve all of the fire and elegance of the original pieces, and the Avison
Ensemble gives them brisk and lively performances. Highly recommended. “ - Rick Anderson (CD
Hotlist)
“No shortage of [virtuoso technique] on these discs…Pavlo Beznosiuk’s energy is combined with
meticulous tuning and an ear for a well-shaped phrase… should prove a benchmark recording” - The
Journal Culture Magazine)
“This recording constitutes something of an event in classical music. A significant addition to the catalog.
Good sound and decent notes.” – Crawford (American Record Guide)
“The Ensemble perform this attractive music with flair and intelligence” – Em Marshall (Albion Magazine)
21211
Avison Concerti Grossi, op. 9 and 10
“Avison's Opus 9 and Opus 10 'Concerti Grossi' are sweetly melodic, succinct and conservative. Led by
Pavlo Beznosuik, the ensemble does its composer proud in a stylish series of sturdy allegros, graceful
largos and delicate, attractive arias.” - Anna Picard (The Daily Telegraph)
“The ensemble performs with simplicity, freshness and lovingly tended, authentic ornaments sighing into
cadences. The concerti tumble out like pristine toys from a long-locked cupboard.” – Rick
Jones (Classic FM Magazine)
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“The concertos are utterly delightful for their serene beauty and melodic invention.[The Avison
Ensemble] play this music with the necessary phrasing, tempi and stylistic rightness that brings this
music to life. It is hard to see how these concertos could be better played. The sound quality is rich and
reverberant.” – Mike Birman (Audiophile Audition)
“The group has developed a distinct ‘house style’ that truly sparkles in this recording. Avison’s
awareness, and use, of key colour is striking – it certainly brings an impressive degree of variety to the
disc... this double-CD set is a mine of varied and exciting music.” - Caroline Ritchie (The Consort)
“[Avison’s] work is fresh and listenable,...Beznosiuk gives these concertos excellent treatment. Sound is
very good. This is a high-quality recording.” – Crawford (American Record Guide)
“Urbane charm, fluent melody and purposeful harmony. Attractive now as they were for audiences at
Avison’s regular subscription concerts.” – George Pratt (BBC Music Magazine)
“In terms of performance, the Avison Ensemble is superbly unified. Not surprisingly, several other of its
recordings are mentioned in Divine Art's very well presented annotation. Pavlo Beznosiuk leads with
confidence – he is not afraid to add occasional decorations but these are not intrusive and never
interrupt the melodic line. In all, these are exceptionally stylish 'period' performances by musicians intune with Avison's philosophy and are ideal ambassadors for the promotion of this neglected composer.
Divine Art must be commended for promoting rarely heard 18th-century composers.” – Antony Hodgson
(Classical Source)
“A delightful find for those jaded ears that are thinking there’s nothing new under the classical sun to be
found. Warmly played in period fashion with great attention to detail” – Chris Spector (MidWest Record)
“This splendid 2 CD set should help to rekindle interest in the work of Charles Avison... 18 elegantly
Italianate creations expertly revived by the ensemble which bears his name.” – Kevin Bryan (UK
Regional Press)
“These concerti, though coming late in Avison’s composing career, show little diminution of
inventiveness from his Op.6 set and the Scarlatti and Geminiani adaptations. With tasteful
ornamentation where appropriate and a willingness to give the music a bit of a lift, these are excellent
performances.” – Brian Wilson (MusicWeb)
“Very worth reviving... [Avison] is certainly a composer not to be ignored.” – Peter Spaull (Liverpool Daily
Post)
21212
Haydn Stabat Mater
“The underserved Haydn fan that really wants something “new” and different has a full on bonanza here.
Lesser known works that are far from being of lesser quality with performances and interpretations to
match.” - Chris Spector (MidWest Record)
“Balances are excellent and solo vocal lines clear.. the performance of the Stabat Mater is careful and
accurate. [Libera me] is exquisite. This performance captures the funereal essence of the Libera Me
better than the only other one I know. The performance of the symphony is both correct and sensitive,
the sound clean, almost sweet. The double Concerto is a delight; violinist Manzoni is imaginative, his
instrument rich, and the harpsichord sparkles. “ – James H North (Fanfare)
“These readings hold up better than many recordings from the early days of the historic-performance
movement. An emotionally penetrating reading of... Stabat Mater. The unique collection of all this
somber Haydn... is another plus and serious Haydn buffs will find these distinctive performances.” –
James Manheim (Allmusic)
“The Stabat Mater is a neglected masterpiece. I enjoyed the performances... the work [of the Chorale] is
quite admirable – as is the orchestra. Orchestra and soloists do very well here, in recordings that wear
their age well. The symphony in particular is very cleanly performed. The analog sound is nicely
remastered.” – Koob (American Record Guide)
“a most welcome disc. [Stabat Mater] is long but profoundly satisfying. The group do not use period
performance practice, but the sound is crisp and lithe, Tempi are kept moving and the overall sound is
slim and not overblown. The Chorale Phillippe Caillard make an equally strong contribution. [Libera Me]
is a short but charming work and receives a decent performance here.” – Robert Hugill (MusicWeb)
21213
Avison Concerti after Scarlatti
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“An important series of recordings...beautifully-crafted music, very much of its time...delightfully varied,
with a fascinatingly wide range of expression. Very gifted musicians whose corporate and individual
artistry is evident. This issue is one that deservers wide success. Strongly recommended.” – Robert
Matthew-Walker (Musical Opinion)
“Utterly beautiful...the performances are beyond praise. The intonation is impeccable, the pacing perfect,
the balance is exemplary... sensitive to every mood change and expressive nuance.” – Edith Eisler
(Listen)
“A very enjoyable pair of CDs. Avison operates with precisely that mingled air of admiration and
reservation he expresses [in his writing on Scarlatti – see full review]. The very nature of the exercise
registers his delight in Scarlatti’s music. These are fine, loving performances. Pavlo Beznosiuk and his
ensemble have done the memory of Charles Avison great service with these and other recordings.” –
Glyn Purslove (Musicweb)
“This is exemplary baroque string playing, and at its most tasteful. This recording contains something for
everybody – the Scarlatti enthusiast, the musicologist, the teacher and the student, as well as string and
keyboard players. For me it offered a combination of nostalgia and surprises, a motivation both to revisit
some neglected keyboard music and also to delve into more of the works of this composer whom
Charles Burney referred to as ‘an ingenious and polished man, an elegant writer upon his art’.” - Ibrahim
Azin (The Consort)
“Thoroughly enjoyable and technically first class. In short this is another fine exploration of Avison’s
under explored legacy. The ensemble that bears his name does him further honour in this excellently
recorded survey.” - Jonathan Woolf (MusicWeb)
“Excellent series... finely presented performances led with natural violinistic flair by Pavlo Beznosiuk.
The warmer, more polished sound of the Avisons just puts them ahead [of the Hyperion recording by the
Brandenburg Consort]. – Lindsay Kemp (Gramophone)
“Avison’s arrangements and re-workings are never less than engaging and stylish. However, the real
trump card is the quality with which they’re played here... springy rhythms combine with a lovely, pliable
way with the music’s pacing and phrasing.” – Malcolm Hayes (Classic FM Magazine)
“These are beautiful pieces...the treatment here is gentle and reflective... though not lacking in energy;
the recording has a warm, full sound.” – Crawford (American Record Guide)
“12 effective orchestral concertos; substantial pieces, earning lively and sensitive playing. Some
powerful playing especially from Pavlo Beznosiuk” – George Pratt (BBC Music Magazine)
“The playing is uniformly superb. The results, especially in performances of this calibre, are such that the
listener is able... to return to the originals with fresh ears – surely the measure of success of any good
transcription... The recorded sound is excellent.... Fascinating and colourful works.” – Robert Levett
“This delightful two-disc set is a welcome addition to the catalogue...the result is quite enthralling. Each
concerto is a joy to listen to. Divine Art’s presentation is, as usual, impeccable.... with an excellent
recording to boot” – Gerald Fenech (ClassicalNet)
“Avison’s deployment of massed strings is wonderfully effective... a Handelian splendour. At an opposite
extreme is the subtle development of sinuous fugal lines. This admirable CD is,one, hopes, harbinger of
many more happy discoveries at the back of northern cupboards” – Robert Anderson (Music & Vision)
“The performances are lively and expert. I would be happy with either of the two available recordings [the
other being by the Brandenburg Consort] but if forced to chose I would opt for the Avison Ensemble” –
Ron Salemi (Fanfare)
“A snapshot of changing tastes,,, Avison’s shoehorning of Scarlatti’s keyboard textures into the concerto
grosso format is ingenious... Beznosiuk’s interpretations emphasize sweetness and smoothness.
Recommended for British music lovers and serious fans of the period, and nowhere less than pleasant
for anyone else.” Performance 4.5 /5; Sound 4/5 – James Manheim (Allmusic)
“The crew do a fine job of playing note perfect with passion. A solid diversion from warhorse repertoire
for jaded ears.” – Chris Spector (MidWest Record)
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“Excellent pair of CDs- if anything this is finer music [than the op. 9 and 10 which I so recently
recommended] and the performances and recording are equally fine. This is early music without the
rough edges... recorded sound is first-rate. All [the Avison Ensemble recordings] are very worthy of your
consideration.” – Brian Wilson (Musicweb)
“Avison shows his strength of character my making [the sonatas] his own...another enjoyable
contribution from18th century Geordieland” – Peter Spaull (Liverpool Daily Post)
21214
Avison opus 1 and 8 Sonatas:
“The rediscovery of this composer and his music has been long overdue. Played with relish and charm...
ideal sound. A most desirable release.” – Piers Burton-Page (International Record Review)
“The Avison Ensemble must be praised for its outstanding work...the double CD forms an attractive
diptych portraying Avison at both ends of his career. The harpsichord writing is brilliant, even dazzling
sometimes. The strings create a superb, well-balanced sound. There is much to learn from [Howarth’s]
subtle articulation and phrasing.” – Ibrahim Aziz (The Consort)
“Characteristic of a certain fantastical aspect in Avison’s music that’s nicely captured here... [the opus 8
sonatas] don’t sound like any other chamber music of the period, and they’re a nice find. The sound
environment of the album is unique...original instruments.. a spacious, live quality. Compelling.”
Performance 4/5; Sound 4/5 – James Manheim (Allmusic)
“Another worthy trip back to the baroque era digs up some completely unknown works by a composer
that should have more due. The ensemble deliver a heartfelt work that sounds like more than four
people doing all the work. Tasty stuff for series fans to spread the word with.” - Chris Spector (Midwest
Record)
“This double disc is a delight, especially the sonatas for two violins and bass which are full of invention...
the set is an excellent and timely commemoration” – Rick Jones (Classic FM Magazine)
“Robert Howarth breezes through the plethora of notes in the harpsichord sonatas as if they were the
proverbial piece of cake. Beznosiuk’s playing is...imaginative.. always in the service of the music.
Extensive notes on the composer, the music, the performers and the instruments are provide. The
recorded sound is just about ideal. Highly recommended.” – Christopher Brodersen (Fanfare)
“Avison’s Op. 1 are attractive Italianate ‘church’ sonatas. The playing is committed and often
impassioned. The recorded sound is excellent.” – George Pratt (BBC Music Magazine)
“Another admirable disc [in the Divine Art Avison catalogue]... the outstanding Avison Ensemble. The
music is lovely, and the works are performed with insight and conviction.” – Em Marshall (Albion
Magazine)
“The sonata movements sometimes display a chromatic daring that suggests a composer of real
originality and power. Robert Howarth is here the brilliant protagonist.” – Robert Anderson (Music and
Vision)
“This is a captivating collection of sonatas, which is given outstanding and expressive performances. The
ensemble is excellent, and the balance between the instruments is just right. An enjoyable set with music
which varies from expressive to entertaining, The Avison Ensemble is once again an eloquent advocate
of the oeuvre of this master of the English baroque.” – Johan van Veen (MusicWeb)
“Here is evidence of [Avison’s] mastery of sonata form; a vast array of effects and techniques, all crafted
with elegance. The players are steeped in the Tyneside master's output and deliver with panache.
- Classical Music
21215
Avison Harpsichord Sonatas, op. 5 &7
“I am thrilled beyond measure; not only are [these sonatas] fully professional, gloriously melodic pieces
of great imagination, but they do not shy away from rhythmic complexities and extraordinary flair...
superbly crafted melodic gems. We can be grateful to the Avison Ensemble for giving us this set, played
with great authority. The sound is clear, very close, and detailed. Wonderful stuff!” – Steven Ritter
(Audiophile Audition)
“[Avison’s] provincial isolation may explain his considerable originality, exemplified in these two sets of
six sonatas.” Performance  Recording - George Pratt (BBC Music Magazine)
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“Remarkable discs... remarkable as much for the glories of the music they contain as for the brilliance of
the Avison Ensemble’s playing and in particular Gary Cooper’s delightful harpsichord virtuosity. A very
welcome and refreshing release.” – Marc Rochester (International Record Review)
“[Avison’s] standing as a composer is significantly higher than might be supposed. Fortunately
recordings such as this have begun to show how adaptable, personable, imaginative and clever is his
writing. Not only is Avison’s writing broad-minded and full of thematic interest, but Gary Cooper and his
eminent cohorts fully worthy of it; the combination is outstanding in every way. Recording quality (first
class), performances and music come together in a wholly splendid way.” – Jonathan Woolf (MusicWeb)
- MUSICWEB RECORDING OF THE MONTH
“ [Avison’s] puzzlingly neglected music is one of the great treasure troves of the baroque period. To
describe the sound - every part is clear and present, performed with graceful passion, resulting in sound
that is well-defined and quietly powerful. This excellent double CD … is highly recommended if you want
to discover some wonderful music and hear proof that the sound does still matter.” - ‘Pliable’
(Overgrownpath.com)
“Avison… discovered a melodic-harmonic vein of charm . As to the performances by the Avison
Ensemble, they are worthy of the music they play, being both suavely urbane and stylistically astute.
Technically, there’s nothing to challenge these musicians. Definitely recommended.” – Barry Brenesal
(Fanfare)
“My respect for the works of this Newcastle composer increases by leaps and bounds. His writing for the
harpsichord is both brilliant and sensitive. First rate ensemble.” – Robert Anderson (Music & Vision)
“These recordings reveal that [Avison’s] music is of a consistently high level. [They] are still able to reach
out and appeal to music-lovers today. That is even more the case when they are played with so much
fire and passion. Gary Cooper plays the keyboard parts brilliantly, with technical perfection and artistic
fervour. Exemplary booklets which provide the listener with all the necessary information. The recording
leaves nothing to be desired. In short, this set offers almost two hours of first-rate musical
entertainment.” – Johan van Veen (MusicWeb)
“Such a rich sound… affectionate performances… adding to our knowledge and appreciation of one of
Northern England’s unsung musical heroes.” - Andrew McGregor (BBC Radio 3 CD Review)
“A lovingly played baroque master work, this is a sure bet for harpsichord lovers. This stuff has been so
cool that you hate to see the series come to a conclusion.” – Chris Spector (MidWest Record)
“A welcome pendant to the concerti grossi. The keyboard parts are virtuosic and relished by Gary
Cooper. The modest string parts enrich the effect of the music.” – Peter Grahame Woolf (Musical
Pointers)
“These musicians seem to have just the amicable rapport that Avison was looking for, and their
performance comes off with joy and aplomb” – Katz (American Record Guide)
21216
J S Bach – The Six Partitas
“Anyone that wants to get deeper into these relatively underplayed Bach pieces is going to have a fine
time rounding out their knowledge of the canon. Tasty, energetic and engaging.. on the money with a
performance that is much more than a bunch of notes played pretty and in the right order... this is one for
your collection.” – Chris Spector (MidWest Record)
“Judith Lambden’s style is of a homely unpretentiousness, cut from an unconventional cloth. She senses
power and gravity in these Partitas...yet intellectually always on the highest level. Lambden’s Bach is
conceptually of a weighty dignity. Good keyboard command” – Nalen Anthoni (Gramophone)
“This Australian born pianist... makes her Divine Art debut with this commanding performance of
[Bach’s] Six Partitas. Their sublime marriage of grace, agility and nobility is reflected throughout this
splendid 2CD set” – Kevin Bryan (UK Regional Press)
“These performances are thoughtfully appealing, reliably-judged and largely free of worrying
idiosyncrasies. I can enjoy Lambdens’ balanced J S Bach interpretations in a mood of relaxed,
unperturbed concentration. Worthy of a place among Australia’s celebrated concert pianists.” – Howard
Smith (Music and Vision)
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“There are admirable moments in these recordings... there is ample evidence of a musical mind that has
pondered the possibilities inherent in these works.” – J F Weber (Fanfare)
21217
Antony Hopkins – A Portrait
“[Antony Hopkins the composer] was lightweight but never trivial and he could consistently charm the
ear. Altogether, this is a delightfully entertaining anthology, vividly recorded, and can be especially
recommended to those who, like me, had not previously discovered the composer’s music.” – Ivan
March (Gramophone)
“Divine Art has produced this superb 2-CD tribute to Antony Hopkins for his 90th birthday. This tribute is
a wonderful celebration of Antony Hopkins’s life and music ... such an accomplished all-round musical
personality. Hopkins’ music ... deserves to be heard more frequently in the concert hall.” – Michael
Jones (BMS News)
“This is a superb retrospective of Antony Hopkins’ achievement as a composer but also recognises his
talent as a poet. It is well-produced and allows the listener to approach a considerable variety of musical
moods, styles and genres. There is a considerable stylistic gulf between the ‘Partita’ and the ‘Tango’.
However, both works are suffused with technical skill and sustained interest. The same applies to
virtually all the music on these CDs.
The performance of all this music is excellent. I will single out the beautiful voice of Lesley-Jane Rogers
and the inspired playing of Matthew Jones on the viola for special mention. However all the soloists
impressed me. Finally, I have to pay tribute to John Turner. He conceived the project, organised it and
plays on a number of tracks. All this reveals his unquenchable enthusiasm and massive musical ability. It
is a major achievement.” - John France (MusicWeb)
“One of the great popularisers of classical music in the pre-Classic FM generation, Antony Hopkins was
a wonderful broadcaster; as this intriguing compilation for his recent 90th birthday reveals, he is also a
composer of wit and substance.” – Nicholas Kenyon (The Guardian)
“[Hopkins’] music is finely constructed and undemanding. Yet he uses dissonance effectively and
pungently, sometimes bringing to mind Hindemith. There is much to delight here.” – Colin Clarke
(Fanfare)
“It is as a very versatile and practical composer that [Hopkins] best expresses his musical personality.
The four-movement Sonata for viola and piano with which the first disc opens is a case in point: - a
significant addition to [the] genre. Both discs form not only a lively portrait of the composer, but also both
a sincere tribute and a musical treat in which the enthusiasm of the performers and composers is very
evident.” - Andrew Mayes (Recorder Magazine)
“[Hopkins] did everything with distinction; and, although his muse was utterly English, his writing has
almost a French piquancy. The present anthology shows his range and his consistently seductive
invention, with a consistent injection of often haunting lyricism. Let me finally commend all the
performers whose ardent playing contributes so materially to the success of this well-annotated disc. It is
indeed a Portrait, and a very well deserved one too.” - Jonathan Woolf (MusicWeb)
“I have been enjoying a celebratory two disc set representing [Antony Hopkins’] output. Discs worth
investigating.” – Philip Scowcroft (Light Music Society)
“A delightful and ... long overdue issue commemorating on the most admired figures in classical music in
Britain. A wonderful set.” – Robert Matthew-Walker (Musical Opinion)
“Altogether this is a warm and generous tribute to one who meant so much to the many who listened to
[Hopkins’] words, his music and his wisdom.” – Patric Standford (Music and Vision)
“This is a most welcome CD ... a compilation that will entertain on all levels.” – Charwood (Amazon)
21218
Christopher Langdown Live in London
“This CD... presents to us a young pianist whose versatility could lead to a bright future. Christopher
Langdown seems to feel right at home no matter which composer he tackles. The variety of the pieces
on this recording is enough to satisfy any piano lover’s appetite, and might even present new discoveries
to some and shed some new light on old favourites. The recording fully captures the recital’s
atmosphere and nervous energy, and delivers a focused and solid sound throughout.” – Jean-Yves
Duperron (Classical Music Sentinel)
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“Langdown is an accomplished and polished artist who, I would submit, possesses the musical
intelligence and sensitivity to hear the voices of a number of different composers and to speak to us in
their individual tongues. With [Deo Omnis Gloria], Langdown demonstrates his considerable talent for
composition as well as for the piano. Strongly recommended.” - Jerry Dubins (Fanfare)
“Once you get used to the slightly recessed but very clean sound from Wigmore Hall, this recital
becomes very impressive. .. A mind that considers every detail, yet carefully avoids any feeling of the
ordinary or academic.” – Becker (American Record Guide)
“Christopher Langdown has a lovely tone, smooth legato and a technique equal to the pianistic
challenges in this programme. A really good pianist.” – Stephen Pruslin (International Record Review)
21219
Handel: Suites for Harpsichord, vol. 1
“The playing is lively, spirited and devoid of any mechanical delivery that renders so many harpsichord
recordings unenjoyable. The segments in the minor modes are given the right touch of sobriety and
darker color. The phrasing is always shaped and well manipulated to reinforce the melody and forward
momentum of each piece. Rowland's fluid and well accented fingering never allows the music to settle
into repetitive tedium, but instead seems to give repeated lines a slightly different inflection. All very well
reproduced in this fine Divine Art recording.” - Jean-Yves Duperron (Classical Music Sentinel)
“Rowland is an evenhanded and intelligent player, His ornaments are always tasteful, but it is his
changes of texture that add interest and variety. Lovers of Handel’s music will appreciate Rowland’s
commitment to the rich musical world of these suites” – Shelley Katz (American Record Guide)
“The standard of playing is very high indeed, with some crisp articulation, appropriately added
ornamentation in the repeats and a subtly convincing application of inégalité ... this is a most enjoyable
recording.” – John Collins (The Consort)
“The instrument...has a lovely upper manual, with a sweet, nasal twang. Rowland’s Soler was robust
and unapologetically virtuoso. His Handel is similarly scaled and brightly rendered. Quite florid
ornamentation.. more Rococo than improvisatory.” – Phillip Kennicott (Gramophone)
“I found my enjoyment of [Rowland’s] playing for some reason increased as the set progressed. The
superb fugal Allegro {of HWV 429] played with a masterly grasp of contrapuntal complexities... The
[HWV 430] final Air and Variations are not only played with virtuosic assurance but also introduce a nice
suggestion of humour. Always honest, musical performances that are likely to provide much pleasure.” –
Brian Robins (Harpsichord and Fortepiano)
“I have heard no other performer bring such a sense of grandeur and weight to Handel’s suites
combined with authentic tempos that feel just right. If you want to hear Handel’s harpsichord music
played as authentically as possible by a true professional who understands how to interpret Baroque
music properly then look no further.” – “RB” (Amazon)
“Performances which are delivered with great relish ... considerable verve and vitality. His clear-sighted
and purposeful delivery maintain a strong feeling of cohesion.” – Marc Rochester (International Record
Review)
“Rowland’s playing tends towards the big-boned and virtuosic. But he can exercise restraint where
needed: his sarabandes are subdued and tender, his gigues suitably jaunty...[his] performance of the
concluding movement of “The Harmonious Blacksmith” is as fine as any I’ve heard.” – Christopher
Broderson (Fanfare)
“These modern recordings are cleanly and most listenably played ... the music is conveyed with
impeccable fingerwork and an admirable sense of style. This series could and should run and run.
Meanwhile, snap up these albums without delay and bask in some unfailingly delicious playing.” –
Michael Round (International Record Review – joint review with vol. 2)
“A welcome addition to the catalogue.. the Divine Art set is offered at a keen price.” – Brian Wilson
(MusicWeb Download Roundup)
21220
Handel: Suites for Harpsichord, vol. 2
“It is impossible to praise this new release too highly. Fabulous playing.The combination of Handel,
Gilbert Rowland, Wooderson’s fine harpsichord, the recording and the recording engineer John Taylor is
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unbeatable providing, as it does, a collection of these wonderful suites that I will return to again and
again.” – ‘The Classical Reviewer’
“A fine instrument, with silvery, bell-like timbres in the upper register and a richly sonorous bass.
Rowland’s changes of registration for repeats are judicious and tasteful, revealing fully the beauties of
his instrument. A highly satisfying version of Handel’s Suites… as the final notes die away, one is simply
left with a strong temptation to shout “Bravo!”. – Brian Robins (Harpsichord & Fortepiano)
“The sound is robust and powerful, and Rowland uses every inch of the keyboards, generally with bright
and decisive attack.The articulation and ornamentation in particular are precise and clear. I found much
to admire in the robust performances and sometimes sensitive interpretations. In short this is a worthy
sequel.” – Bertil van Boer (Fanfare)
[Rowland] combines amazingly graceful virtuosity with original filigree and huge experience to give
readings that all listeners should respond to. The two-manual period replica harpsichord (1750) has a
sweet, rounded sound and action that react superbly to Rowland's texturising touch and Handel's
illuminative imagination. Rowland et al have sensitively used not only the same venue but recorded at
the same time of year, giving audio that is consistent as well as generally pleasing.” – Byzantion
(MusicWeb)
“These modern recordings are cleanly and most listenably played ... the music is conveyed with
impeccable fingerwork and an admirable sense of style. This series could and should run and run.
Meanwhile, snap up these albums without delay and bask in some unfailingly delicious playing.” –
Michael Round (International Record Review – joint review with vol. 1)
“The playing is exciting and eloquent throughout, and Rowland thoroughly understands the subtle
effectiveness of Handel’s panache” – Robert Anderson (Daily Classical Music)
21221
Haydn: Notturni &Scherzandi
“The raw, distinctly rustic nature of the music [in the Notturnos] presents a vivid picture of youthful high
spirits ... while {the Jessop Ensemble’s performance] has a strongly homespun feel to it, this approach
undeniably underlines the essential joviality of this music. [In the Scherzandi] there are plenty of special
moments ... impressive collective virtuosity from these young players, all of which is delivered with
complete authority.” – Marc Rochester (International Record Review)
“This is an unusual CD of music by Haydn which is rarely heard. Both groups of young performers give
enjoyable renderings of these works, with their elegant slow movements, delicate minuets and lively
allegros. The tone of the Trinity Haydn Ensemble is particularly crisp. Congratulations to Divine Art
Recordings for bringing another page of musical history to life.” – Elizabeth Rees (The Consort)
“If not for this recording, I don't think I'd have ever heard these charming pieces. What these young
players may lack in experience, they make up for in enthusiasm, and the soloists get quite a workout.
The very detailed notes probably include everything there is to know about these works.” - Greg Pagel
“The name of Haydn as the composer guarantees that this is not music which goes in one ear and out
the other. It is surely also great stuff for musicians to play. That comes well to the fore here. The music
on these two discs is highly enjoyable and entertaining.” – Johan van Veen (MusicWeb)
21222
The Expressive Voice of the Flute
“The playing is a pleasure to listen to, with beautifully even tone, a wide palette of colours, and flawless
intonation, accompanied sensitively by Paul Rhodes. This is a most enjoyable compilation, beautifully
played.” - Daniel Shao (Pan – The Flute Magazine)
“Kenneth Smith's sound is ravishingly beautiful, and he always plays with accuracy and imagination.
Paul Rhodes's accompaniments are skillful, sensitive, and perfectly timed. The booklet includes a few
words about each selection plus information on publishers. The cover art, a close-up of light blue
delphinium flowers, is almost as lovely as the playing inside.” - Todd Gorman (American Record Guide)
“Flutist Kenneth Smith and pianist Paul Rhodes give a two-disc recital that contains some of the most
calming music imaginable. Their arrangements are enthralling and they convey the meanings of [the
originally vocal] pieces without reference to their texts. The sound on the recording is clear and present
with the flute in front of the piano.” – Maria Nockin (Fanfare)
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“A programme … in which the musicality and freshness are joined in the simple pleasures of an auditory
adventure. The French listener will discover here many titles popular across the Channel in Britain to his
grand satisfaction.” – Pascal Gresset (Tempo Flute, France)
21224
Sounds of the Chionistra
“Vocal music, most of it for two sopranos and piano – a highly effective combination that more
composers ought to explore. The piano part in The Siege ... sounds almost like the reduction of an
orchestral texture .... part of which gives The Siege and Evtho their ritual quality. The essential honesty
[of Petridou’s chamber music] and the very want of fluency gives it an innocent charm, not least since it
is often very lovely. The performances are sensitive and thoughtful ... In a concert, coming between two
other composers, Petridou’s atmospheric and thoughtful idiom would offer an attractive alternative. The
recorded sound is entirely natural.” – Martin Anderson (Fanfare)
“In both the songs and the chamber music included in this two-disc set there is a melodic and harmonic
language that recalls 18th- or 19th Century European classical traditions, both in terms of musical
vocabulary and expressive and dramatic temperament... with an added Mediterranean flavor,
presumably owing to the composer's Greek heritage. All of the music is accessible and easy to appreciate for its craft and heart-felt expression.” - George Adams (American Record Guide)
“Her music shows a confluence of Eastern and Western elements. The two sopranos have light and
pleasant voices and blend together well in their duets. This is heartfelt music, played and sung with
conviction. The pathos [of the music] will win over many listeners, and I recommend it accordingly. The
booklet gives a good picture of the composer and her times. Other production values, such as recorded
sound are also good.” – David DeBoor Canfield (Fanfare)
“This two CD set contains some beautiful and highly accessible music. Through Alison Smart and
Lesley-Jane Rogers, [the composer] has been introduced to a group of very gifted musicians who seem
to have enjoyed learning and recording some of her vocal and chamber music” – Christina Zve
(Eleftheria)
“I was most impressed by the calibre of the musicians... and by the mastery of the Greek language by
the singers, and of their sensitivity to the poetry. The vocal duets displayed a very sympathetic blend of
voices. Your depiction of your deep understanding of the conflict in the history of your beloved Cyprus is
so evident in the chamber works too.” – Extracts from a letter to the composer from Eileen Hamilton
(Royal Opera House)
21371
A Song without Words – The Legacy of Paul Taffanel
“It is difficult to overstate the importance, never mind the delicious enjoyability, of this collection. Kenneth
Smith’s virtuosity and glorious sound are put to the best use, and Paul Rhodes shows himself to be an
ideal chamber music partner. Stunning performance... ravishing... full of surprises...I am running out of
superlatives. Flute playing does not get any better than this. For me, this is the recording of the year.”
– Robert Bigio (Flute Magazine)
“This massive undertaking is simply a mind-boggling act of selfless dedication from ... Kenneth Smith.
These are very well-written pieces, tonal and romantic to be sure. The music here covers the entire
range of the instruments, from top to bottom, but it does not do so in a flashy or superficial manner.
Smith is, quite simply, a superb flutist. Smith keeps you hooked through the whole set. His tone is warm
and ingratiating, his technique deceptively flawless (he doesn't dazzle you except in two or three pieces,
but he's so good that you never notice all the hard work that went into it), and his style thoroughly
apropos for the era. Accompanist Paul Rhodes’ consistently lively yet warm playing is the perfect partner
for Smith’s flute. You may not want to hear all three CDs at one sitting but I guarantee you’ll want to hear
“what comes next” . It’s that kind of set.” – Lynn René Bayley (Fanfare)
“Immense pleasure to be obtained here.. the most striking thing is the sheer expertise with which these
pieces are composed. The dedicated efforts of Kenneth Smith and Paul Rhodes... present the music at
its best. The set would be worthwhile having for the rarity and interest of its contents alone. It is made
an essential purchase... by the superb booklet. All beautifully played, recorded and presented.” – John
Sheppard (MusicWeb) (Recording of the Month November 2010)
“A major publication... A whole world is brought together here which brings up some surprises and some
premières. Clearly the two artists have tried throughout the whole programme to imagine the soundworld of Paul Taffanel with respect and precision, moving away if thought necessary from current styles
of interpretation. The relevance, the illustrations and the quality of the accompanying booklet extends the
tribute.” – Pascal Gresset (Tempo)
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“[Taffanel’s] contribution to flute history was remarkable. Ken Smith’s silky flute tone immediately grabs
the attention, This, combined with the sensitive piano playing of Paul Rhodes, makes for an excellent
duo. {review praises the performance of each work in turn}. It was interesting to hear this range of welland less-known pieces form an important era in the flute’s history. Kenneth Smith’s wonderful tone and
range of colours is the highlight of the recording, and the musicianship demonstrated by the two artists
was a pleasure to experience… an excellent document of Taffanel’s legacy and has much that is worthy
of praise.” – Carla Rees (MusicWeb)
“Elegance, expressiveness and sensitivity marked Taffanel’s artistry, and the same qualities can be
found in this set... a rich treasury of music... interesting and beautiful pieces.” – John Pitts (New
Classics)
“A real treat for chamber music fans. With each disc packed to the gills with music... a tasty collection
from stem to stern.” – Chris Spector (MidWest Record)
“Splendid new 3CD set.... many of these unjustly neglected pieces make a welcome reappearance
here.” – Kevin Bryan (UK Regional Press)
21372
Ronald Stevenson piano music
“One of the very most important and entertaining piano recordings of the year ... mind-boggling originality
and daring. [played by his] equal as a piano wizard Murray McLachlan... the collection as a whole will
give lasting satisfaction.” – Peter Grahame Woolf (Musical Pointers)
“The obscurity which envelopes [Stevenson’s] art is a cause for enormous regret. I guarantee that as you
work your way through these recordings, you will shake your head in dumbfounded disbelief that music
of such remarkable quality should have gone unheard for so long. Murray McLachlan deserves
enormous praise for these recordings. Some of these pieces erect some formidable barriers .. but
McLachlan negotiates their difficulties with chamois surefootedness. One’s predominant emotion is
gratitude to the musician, recording company and composer who made [the set] possible. Its
importance can hardly be overstated.” – Martin Anderson (Tempo)
“Murray McLachlan’s playing throughout these discs is as masterly as one would expect and he is
superbly recorded. The pianists also contributes extensive booklet notes which explore every facet of the
music. A superlative collection of some superlative arrangements and realisations by one of the great
masters of the keyboard. A big thank you to everyone concerned with this marvellous release.” – Paul
Godfrey (MusicWeb)
“For me the outright best release of the past year [2013], bar none ... That a composer of this stature
should have to wait so long for recordings of his music (and he's still waiting for the vast bulk of his huge
output to get anywhere near the microphones) is shameful; this set will let you hear why.” - Martin
Anderson (Fanfare)
“{A} handsomely packaged and illustrated, thoughtfully and provocatively programmed three-disc set.
[including] beautiful, reverential and entirely effective reimagining of the Romanza from Mozart’s D
minor Concerto ... dumbfounding realizations of the first two of Ysaÿe’s Op. 27 Sonatas.. Le Festin
d’Alkan is massive and sometimes incandescent. Stevenson also emerges as a notable champion of
English Baroque. McLachlan plays most of this programme with a pianism worthy of Stevenson’s own –
not merely equal to all the music’s considerable technical demands but ... with real beauty and poetry of
tone. The set, to which I find myself returning repeatedly, is a triumph.” – Calum MacDonald
(International Record Review) IRR Outstanding CD Award
“This is a very noteworthy release, and I am going to go out on a limb and predict that it will end up on
many ‘Best of’ lists. McLachlan’s performances on these discs are conscientiousness and intelligence
personified. McLachlan’s Stevenson buffet has enough delights to make it well worth your while.” –
Raymond Tuttle (Fanfare)
“Three well-filled CDs. McLachlan proves an impressive advocate, coping well with all the virtuoso
demands ... an important, groundbreaking issue celebrating the work of a composer too long neglected.”
– Edward Greenfield (Gramophone)
“What a collection of treasures... McLachlan proves the ideal guide through this unendingly fascinating
array of works. McLachlan’s technique is equal to the most challenging of the composer’s virtuosic
demands, his musical sensibilities attuned to shaping the torrents of notes into real works of art and his
lightness of touch able to draw out the subtle tones and colours that are the lifeblood of the music. The
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recording is very clear, no mean achievement given the music’s wide dynamic and textural range. Very
strongly recommended.” - Guy Rickards (International Piano)
“I was telling a friend about the arrival of Ronald Stevenson’s piano music CDs on my doorstep. What
surprised him most was that for once in my life I was lost for words. I was overwhelmed by the sheer
width and depth of the repertoire. Ronald Stevenson is one of the most important living composers. I was
extremely impressed by Murray McLachlan’s playing on these three superb discs. This complex, usually
technically difficult - if not nearly impossible, at times - music demands a huge technique and
considerable confidence to play and interpret successfully. The liner-notes by Murray McLachlan are
excellent, comprehensive and interesting. [This set] will long remain as a monument to the achievement
of Ronald Stevenson.” – John France (MusicWeb)
“An excellent view of Stevenson’s art, showing the vast scope of his piano transcriptions, variations and
arrangements. Murray McLachlan fully does justice ... in playing that is impeccably accomplished ... a
tremendous advocate for these pieces. The recordings are clear and detailed. This new release should
appeal to all lovers of fine piano music and indeed, music lovers in general.” – The Classical Reviewer
“Stevenson has composed almost 500 pieces for solo piano, many of which are fiendishly difficult to
play. Even three well-filled discs can hardly scratch the surface of such a vast amount of piano music.
It's never, ever dull, and its sheer imagination and energy are irrepressible. So too are McLachlan's
performances; the dedication of his playing is without doubt immensely impressive.” - Andrew Clements
(The Guardian)
“This program is much better than anything I've heard from [McLachlan]. There's a lot of slow- to midtempo music that requires cantabile playing, and he doesn't disappoint me. The arrangements are more
than mere transcriptions, of course, and are enjoyable and sometimes stunning... There are some very
difficult figurations for the pianist, and he handles them with what sounds like enviable ease.” – Stephen
Estep (American Record Guide)
“Of course there’s no way a Stevenson sampler wouldn’t be a richly textured sprawl. McLachlan explores
works ranging from the virtuosic to vignettes a student could master. McLachlan makes the nearly
impossible Chopin elaborations sound easy.” – Grant Chu Covell (LaFolia.com)
21400
Szymanowski Complete Piano Music
“This astounding set is as essential a purchase as the acclaimed Simon Rattle/EMI recordings of the
orchestral works, and it is the most important collection ever to have been released of Szymanowski’s
piano music. Sinae Lee’s release sets new standards for the performance of Szymanowski’s piano
music, and her quest for accuracy has not in any way inhibited her playing’s wonderful sense of
spontaneity. I am confident that any listeners responsive to late-Romantic music who buy this superb set
will share my enthusiasm for it.” – Raymond Clarke (MusicWeb)
“Lee is the choice…her fingers are as clever as her brain… Sinae Lee’s is the complete version to have”
– Marius Dawn (Pianist Magazine) (Pianist Recommended Recording)
“A young pianist unfazed by the exotic and complex demands… Lee’s command and lucidity are
unfaltering… she is as true to the spirit as to the letter of every bar. Unflagging brio and refinement…an
astonishing achievement” – Bryce Morrison (Gramophone) (Gramophone Recommended Recording)
“Sinae Lee certainly has the technical ability to master this repertory… she projects the music with a real
sense of forward momentum and intensity… managing to bring welcome transparency of texture to the
involved contrapuntal layering.” Performance  Sound  - Erik Levi (BBC Music
Magazine) (Benchmark Recording)
“A terrific survey of Szymanowski’s works… Lee’s sensitive and probing performances of Szymanowski
provide a marvellous, fulfilling and informative way to spend four hours” - David Lewis (All Music Guide)
“To hear the sound universe of Szymanowski in all its splendour, one needs the love and sensitivity of
Korean pianist Sinae Lee, who offers this new performance in a brilliant recording on Divine Art. The
result, quite simply is that everything here runs admirably right from the beginning and is quite simply
extraordinary.” – Michel Tibbaut (Radio Belge)
“There is no excuse for hesitation… a truly rewarding experience. Jaw-droppingly good with a delivery
that is staggering in its ability to bring out the nuances within the music. Wonderful and seemingly
effortless control, immaculate phrasing and beautiful coloration, resulting in performances I’ve never
heard equalled.” – Steve Arloff (MusicWeb)
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Section 4 – Historic Sound 27800 series
27801
Sibelius Symphonies:
“extremely well scrubbed-up recordings... merits high praise. Highly listenable recordings. [the
performances of the symphonies] are unsentimental yet generate plenty of atmosphere... conspiratorial
and sweetly pressured tension. Kajanus's Tapiola is even more impressive" - Rob Barnett (MusicWeb)
“worthy of the highest praise: faultless matching of sides and natural sound, a real pleasure to listen to.
So we have a recording on CD which once again indicates the essential cultural role of the disc in the
preservation of our most precious musical heritage.” - Michel Tibbaut (Radio Belge)
“I cannot recommend this CD too highly. Few accounts of the fifth symphony are more dramatic… “ –
Denby Richards (Musical Opinion)
“the performances [were] endorsed by Sibelius. Thus the recordings are considered by many as being
definitive. This issue is of astonishingly high quality, with all trace of surface noise removed… This disc
is of genuine historical importance. A fascinating release.” - Arthur Baker (FRMS Bulletin)
“these are important documents… Kajanus’s interpretation of the Fifth Symphony is an outstanding
achievement. The remastering is excellent” – Martin Leigh (Classic Record Collector)
“[these recordings] positively sing with the spirit of Finland’s wide open spaces” – Tom Hall (Culture
Magazine)
27802
Mendelssohn: Elijah
BEST CHORAL CD OF 2005 – CRC Historic Awards
“Although seventy-five years old, these mono recordings have been digitally remastered to reveal a
thrilling performance of this great dramatic work.”- John Pitt (New Classics)
“Full marks… Baillie is superb… Parry Jones makes a real impression. Williams is a magnificent
colossus of an Elijah. I’d recommend this retrieval with pleasure” – Jonathan Woolf (MusicWeb)
“first rate standards of production and repertoire… astoundingly good quality” – David Patmore (Classic
Record Collector)
“moving and dramatic performance…restored with considerable care” – Radcliffe (American Record
Guide)
“A performance from the distant past that thoroughly deserves its disinterment. The first-ever
recording… has always seemed to me one of the most convincing. In its caring transfer by Divine Art it
sounds remarkably fresh… well worth of investigation” – Alan Blyth (The Gramophone)
“Williams is a magnificent prophet… histrionically exciting and technically accomplished. Baillie is as
always fresh-toned with pinpoint attack. The well trained choir is vital and dramatic, as is Robinson’s
conducting. I am pleased to have had the opportunity to hear this set.” – John T. Hughes (International
Record Review)
“The ONLY recording of Elijah needed!” – GBH (a direct mail customer)
“comes up surprisingly cleanly in this … dramatically paced reading.” - Tom Hall (Culture Magazine)
27803
Beethoven Piano Trios:
“The recording of the C minor trio, new to me, is delectable…. The recording is also superb for 1942.
The pianist is a classicist to her fingertips, throwing off pearl-like runs of notes with a consistently lovely
tone, and her artistry is fully matched by her colleagues. The “Ghost” …is as splendid as I remember it,
with a heartfelt slow movement. This lovely disc carries an unequivocal recommendation” – Tully Potter
(Classic Record Collector)
“particularly strong accounts, tautly held together, sensitive and intelligent” – Ivan March (Penguin Guide
to Compact Discs)
“dynamically propelled and sensitively shaped performances”- Tom Hall (Culture Magazine)
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“The new “historic” label Divine Art places us in its debt with a generally excellent reissue” – Rob Cowan
(The Gramophone)
27804
Bach: The Art of Fugue:
“Even more valuable [than the new Naxos Bach CD]… Feelingly played… fine transfers and excellent
annotations” – Rob Cowan (The Gramophone)
“A unique historical document, lovingly and beautifully restored” – Paul Shoemaker (MusicWeb)
“It is with much gratitude and pleasure that I welcome this excellent transfer… a musically very important
CD. Strongly recommended.” – Robert Matthew-Walker (Musical Opinion)
“I have enjoyed this version, mainly for the committed string playing… Decent sound and excellent
presentation have enhanced my pleasure.” - Tully Potter (Classic Record Collector)
“The great interest…is the inclusion of the imposing conjectural ending composed and played by Sir
Donald Tovey. [which] takes the final fugue to a resoundingly positive close. –Ivan March (Penguin
Guide to Compact Discs)
27805
Cavalleria Rusticana / Pagliacci:
“It is not a reproduction but the thing itself. Perfect in every detail” – Hermann Klein (The Gramophone
1927)
“Historic treasures for opera buffs here. Sound is remarkably good, as is the orchestral playing. It is a
thrill to hear singers whose names are part of English operatic history.” – Michael Kennedy (The Daily
Telegraph)
“These performances represent the birth of opera as we know it. Another triumph for Divine Art” – Denby
Richards (Musical Opinion)
“even after nearly eighty years [the distinguished singers’] efforts impress.. choral and orchestral forces
are strong. Good transfers and informative notes.” – George Hall (Opera Now)
“most worthwhile…credible and creditable vocal balance. Above all … Nash rises to the top by virtue of
his virility, his elegant and passionate declamation and sheer beauty of tone. Good cast lists and libretto
complete another welcome restoration” – Jonathan Woolf (MusicWeb)
“fine singing on excellent transfers. The clarity and immediacy of sound reveal performances which at
best give pleasure by any standards… fascinating as period documents. Startlingly fine transfers.” –
John Steane (Gramophone 2006)
“lovely and memorable melodies… a time-tripping experience.. collectors of historically important
recordings will not want to pass this set up” – Frank Behrens (Amazon.com)
“Divine Art are to be congratulated… the sound is about as good as we are likely to get. The
[performers] include some of the finest singers on the British stage… to have Harold Williams is a real
luxury.. to have Dennis Noble is almost as good..[Nash] manages the totally different demands of [his
roles] with equal ease” – Tully Potter (Classic Record Collector)
“Now, miraculously, like a picture cleaned, Divine Art has put us in its debt by refurbishing [this set] in
sound more than respectable for its day… Singers of opera in the vernacular today could learn a lot from
the pristine diction heard here… fascinating experience of opera in a bygone age.” – Alan Blyth (Opera
Magazine)
27806
Coates & Moeran Violin Concertos:
Runner–up CRC Awards 2006
“Coates’ work deserved revision, not destruction. The coupling is an absolute stunner… outclasses the
few recordings it has had since. [Campoli’s] playing is utterly charismatic. Divine Art have done an
amazing job in producing such a lifelike, gripping sound.” Performance (Coates):  (excellent)
(Moeran): (outstanding)– Calum MacDonald (BBC Music Magazine)
“The Coates has been very smartly scrubbed up and sounds pretty good with silent background and any
scratches and scuffs elided. The first movement is such an ardent outpouring that one comes away
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wanting to hear it again and prepared to forgive the short breath of the finale. The writing is big and
potent with the violin soaring in almost constant song over the tormented orchestral part. Colin Sauer
drives this work forward with gorgeous sturdy tone and no little poetry. [In the Moeran] Campoli pours an
almost desperate intensity into these pages. The mood is emotionally exalted - exulting in melancholy
and beauty. Campoli is not content to allow the generous poetry at play throughout these pages to cool
the emotions. This is I think the warmest and most passionate performance I have ever heard of the
piece.” – Rob Barnett (MusicWeb)
“This is another Divine Art winner, highly recommended… The performance is excellent.. the music has
much to commend it.. remarkably fine sound.” – Denby Richards (Musical Opinion)
“Musicmaking of exemplary commitment, songful rapture and sizzling passion. Buried treasure indeed.”
– Andrew Achenbach (The Gramophone)
“Campoli plays [the Moeran concerto] with a sweetness and warm-hearted virtuosity; the coupling is
even more recondite and it’s well worth hearing. The restoration … has been done beautifully by Andrew
Rose” – Nigel Simeone (International Record Review)
“I congratulate Divine Art on their enterprise in making available one unknown work and one largely
unknown performance of a slightly more familiar concerto. The transfers sounded well on my equipment
and the documentation is exemplary. English music enthusiasts should certainly investigate this
fascinating release.” - John Quinn (MusicWeb)
“a superb live performance of ..the Moeran…[Coates] was an excellent composer and orchestrator. His
concerto will please, especially as the performance is a fine one.. Andrew Rose has done the transfer
from acetates very well.” - Tully Potter (Classic Record Collector)
“The performance [of the Moeran] is really quite special. What a wonderful player Campoli was when he
was at his best. He was never better than at this exalted level. The idiom [of the Coates] is very
sympathetic, lyrical and warm… very well played by Colin Sauer… well worth hearing” - Ivan March
(Penguin Guide to Compact Discs)
“[Coates’s Concerto] is easily accessible and pleasant...neither of the impeccably behaved works gives
the slightest offense and Campoli’s performance commands attention. Collectors...shouldn’t hesitate in
the least to acquire it. Warmly recommended.” – Robert Maxham (Fanfare)
“Sauer gives a committed and lyrical performance… Campoli brings the [Moeran] to life with striking
virtuosity”. – TMS (Federation of Recorded Music Societies)
“Superb disc” – Michel Tibbaut (Radio Belge)
27807
Milhaud Orchestral Music:
“  (outstanding)” – Penguin Guide to Compact Discs
“a fascinating and valuable collection… all very nicely transferred. Well worth investigating.” – Rob
Cowan (The Gramophone)
“I almost feel guilty in declaring this to be one of the finest and most interesting discs I have yet received
for review" - Lynne Rene Bayley (Fanfare)
“an excellent Milhaud anthology… an imaginative collection in superbly restored sound” - Nigel Simeone
“a very welcome and well-filled CD. [Two of the major works] are an only recording, making this
collection extremely valuable for collectors and students of this composer. The Five Studies was, I
believe, Paul Badura-Skoda’s first recording, so there is much of importance in this CD. Strongly
“a very welcome offering… splendidly vigorous performance of the Second Symphonic Suite… good
notes by Stephen Sutton and Andrew Rose [restoration engineer] has done an excellent job.” – Roger
Nichols (Classic Record Collector)
“a disc packed full with a connoisseur’s selection of historic recordings. The no-nonsense sound shows
the sort of attentive and skilled remastering that makes Divine Art’s vintage Sibelius symphonies disc
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such a refreshing experience. This is a distinctive entry in the Milhaud lists…more please, Divine Art.” –
Rob Barnett (MusicWeb)
“This collection of less familiar pieces is welcome. There is much that is enjoyable… the compelling
reason to purchase the disc is the Protée Suite [which] for sheer bacchic mayhem is unsurpassed.
Divine Art is to be commended for their selection of works and the care taken with their restoration” –
Radcliffe (American Record Guide)
27808
Moeran Collected 78rpm recordings:
Runner-up CRC Awards 2007
“A blistering first performance of Moeran’s symphony is a classic of the gramophone… Andrew Rose
has achieved impressively full-bodied and refined results (surface noise is remarkably low)... magnificent
recording… a truly wonderful account of the String Trio” – Andrew Achenbach (Gramophone)
“The main work is [the Symphony] in a 1926 performance of passion, fire and ferocity. This is an
extremely valuable disc, both historically and for the incredible performances on it.” – Em Marshall
(Albion Magazine)
“A fine conspectus… vocal, instrumental and symphonic. These are all classic performances. [The
sound]… is much more immediate than Dutton’s rather more occluded sound. Divine Art’s work has
subtly re-aligned the orchestral sonority. The strings are warmer whereas with EMI… the strings can
sound rather shrill and tonally starved.” – Jonathan Woolf (MusicWeb)
“An unexpected delight – the engineer has made a fine job of restoring these historical treasures” –
Peter Spaull (Liverpool Daily Post)
“Divine Art’s Historic Sound series is turning out to be a real corker. {The Symphony} was available
before on a Dutton CD but Pristine Audio’s new transfer has added a little more clarity to the sonic
picture. The String Trio… cannot be better interpreted. The sound is very good indeed. Highly
recommended.” – Gerald Fenech (ClassicalNet)
“a particularly attractive CD… a nice record not just for collectors. Heward’s account of the Symphony is
indeed definitive” – Robert Matthew-Walker (International Record Review)
“the Trio is superb and in itself worth the price of the disc.. here is a real find” – Tully Potter (Classic
Record Collector)
27809
Carmen:
“The transfer to CD is of such naturalness and quality that the voice of Georges Thill appears
remarkably present and clear… a welcome historical re-issue characterised especially by the
incomparable presence of Georges Thill.” – Michel Tibbaut (Radio Belge)
“These artists know by nature than the text is as important as the music: all the principals play with the
words in a way quite lost . The excellent transfers added to my pleasure in a set I had never encountered
before. I recommend it as a second version in any reputable collection of French opera.” – Alan Blyth
(Opera Magazine)
"Thill is the most marvellous singer here but there are at least two other performances of some stature.
The transfers sound very well. We have texts, a plot summary and artist biographies... a most
worthwhile addition to the catalogue" - Jonathan Woolf (MusicWeb)
“The sound is exceptional… there are no hisses or scratches, just clear singing. [The singers are] all
here in fine voice. It’s quite amazing to listen to something recorded nearly 80 years ago and find it as
fresh as if it were pressed yesterday” – Judith Monk (Musical Opinion)
“This classic recording… truly takes its place amongst the great Carmens of all time. It is hard to find a
better version. The aura of Francophile experience permeates every single note… you cannot really go
wrong. The orchestral playing truly comes alive in the fine remastering. Divine Art’s new Historic Sound
Series is fast becoming one of the major labels in this much sought after genre and this Carmen
deserves every success”. - Gerald Fenech (ClassicalNet)
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“The reasons for buying this set are threefold: Georges Thill, the excellent orchestra and the main
conductor, Elie Cohen. Thill is magnificent as ever. Full marks for presentation.” – Tully Potter (Classic
Record Collector)
“issued by the worthy little company Divine Art…Guénot has an open sound… Nespoulous is a brightvoiced Micaela, neat and accurate. To José, Thill brings stylish vocalising… and is intense in the final
scene. Divine Art’s transfer is very clear.” – John T. Hughes (International Record Review)
“Very often, a vintage recording affords only historical interest; sometimes there is great artistic merit
also involved. The 1928 recording of Georges Bizet’s “Carmen” has a little of each. However, it is the
Don Jose of the nearly legendary tenor George Thill that is the major attraction of this set. It is so good
to hear that role sung by a Frenchman for starters, and one with that Thill thrill for good measure. He is
what gives value to this set and why I can recommend it for those who are interested in this wonderful
tenor.” - Frank Behrens (Keene Sentinel)
27810
Faust
“The crop of quality singers and the much underrated Carlo Sabajno combine together to provide a truly
world class performance on all counts... stunning remastering. This is an essential historical document
which is a must for all fans of opera in all guises.” - Gerald Fenech (ClassicalNet)
“Superb sound!...instrumental details are well caught, the chorus has great impact, the singers leap out
of the speakers with surprising realism. Carlo Sabajno...secures fine playing and singing from the La
Scala forces. The star of the performance is Fernando Autori as Mephistopheles. He has a magnificent
black-tinted bass... one of the most impressive devils on any recording. Gilda Timitz is an excellent
Siebel and his/her Flower Song is one of the highlights. A lot to admire on this almost 90-year old
surprisingly listenable version.” – Göran Forsling (MusicWeb)
“Absolutely minimal surface noise... thus we can appreciate this set as a genuine performance. The
quality of this world-class opera company shines through these old discs with an excellence and
unfailing deep musicianship that justifies this reissue in artistic grounds” – Robert Matthew-Walker
(Musical Opinion)
“Remarkably good overall sound quality that allows the excellent performances to shine through. This is
the first time that this important historical recording has appeared on CD and it’s a memorable version of
one of the most popular, tuneful and sophisticated operas ever composed.” - John Pitt (New Classics)
“Autori as Mephistopheles: a vital, vivid, vibrant interpretation. He brings the character to life without
excess: one of the best. Transfers are well done” – John T. Hughes (International Record Review)
“The sound is very good acoustic (pre-electric). Granted that, its being sung in Italian gives it a certain
historic quality.... [a] version that can stand on its own vocally against some of the more recent Frenchlanguage versions” – Frank Behrens (Art Times)
“Divine Art seems to have done its job well. Most of the singers have rapid little vibratos, but their voices
are not unattractive. Autori has a dark voice and fairly smooth delivery ... he isn’t crude and heavy” –
James Miller (Fanfare)
“Is this too cool or what? Any self respecting opera fan will want to grab a copy of this.” – Chris Spector
(MidWest Record)
27811
Peter Warlock collected 78rpm recordings
“Put simply, this is a treasure-trove. The sound is very good... the liner notes are excellent. This is Hall
of Fame material in my opinion. For the music, the interpretations, the sound, the clear-sighted editing...it
is a monumental enterprise that deserves no less.” – Barry Brenesal (Fanfare)
“The transfers from 78s are exemplary... over –correction has been avoided... the use of period
recordings brings us nearer to the strange world of Philip Heseltine. The accompanying booklet is a
mine of information. In all this is a fitting memorial to Peter Warlock. These transfers have obviously
been made with exceptional care and this is an important historical release.” – Antony Hodgson
(Classical Source)
“This is a vital set for Warlock enthusiasts. A number of these recordings were made before Warlock’s
death in 1930...there is fascination in hearing these contemporaneous accounts. This single-width 2-CD
set is smartly presented. Full discographical detail... wonderfully extensive notes” – Rob Barnett
(MusicWeb)
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“One of the happiest of recent historical releases... music-making that is both intimate and intense.
Some treasurable performances that would otherwise be extremely difficult to track down. The transfers
are good and so are the notes.” – Rob Cowan (Gramophone)
“Expertly compiled... a roll call of British singers of the 1930s and 1940s – a collection of outstanding and
well-loved English songs” – Peter Spaull (Liverpool Daily Post)
“Pride of place goes to the 1950 version of The Curlew. René Soames.. shows himself to be an
outstanding interpreter. Overall I give this set a four-star review. Seldom has Warlock’s very personal
sound-world been so well served on record. Generally, very well done and an important set for
musicologists as well as collectors.” – Lynn René Bayley (Fanfare)
“A veritable treasure trove... Overall, the digital transfers are good... it seems like a good deal of effort
was put into this package in keeping with its historic import. “ – Dave Lewis (AllMusic Guide)
“This is a most enterprising set in that it includes a goodly proportion of virtually everything that Peter
Warlock wrote during his short life. Roy Henderson’s delightful accounts of eight of [the solo songs]...
some really outstanding items. A valuable issue... a comprehensive celebration of the music of a man
who was lightly touched by genius.” – Lyndon Jenkins (Musical Opinion)
“Desirable collection of recordings... comprehensive booklet contributes some interesting information on
the provenance of the recordings... essential listening for all Warlock enthusiasts, given especially the
quality of its transfers. All the performances are ‘of their time’ and these recordings retain their value as
documents of artistic achievement and undoubted historical importance.” – John Talbot (British Music
Society News)
“All Warlockians and Delians should have an interest in these great rarities... this compilation is a
treasure trove of very rare recordings.” – The Delius Society
“Those looking for a corpus of early recordings of Peter Warlock’s music....will find their wishes granted.
The transfers are first class and so is the documentation. This generous-spirited production hits all the
right notes and the corpus of recordings it contains will enlighten, stimulate and encourage Warlockians
for a good, long time.” – Jonathan Woolf (MusicWeb)
“Barbirolli’s ... Serenade... beautifully terraced and tapered. Two Purcell Fantasies... are each superb.
With eight songs by Roy Henderson, we find a singer fully in command of his material. Transfers are
generally good.. The set is recommended... for its omnium gatherum qualities” – Tully Potter (Classic
Record Collector)
Section 5 - Divine Art CD singles 29000 series
29001 rout one:
“Intriguing… there is a great deal of sense in composers working in compact, tightly-knit communities of
sympathetic musicians with electronics which have the potential to turn an instrumental solo into
something symphonic in terms of sonic depth.” – Dominy Clements (MusicWeb)
Section 6 – Pilgrim’s Star 27000 series
27001 Hail Mary:
“Hail Mary is a spiritual poem cycle. The effect is mesmeric as befits its stated aim as an aid to
meditation” - Northern Echo
27002 Pierucci: Via Crucis:
“The music is beautifully sung” - Northern Echo
“There is something edifying about the beautiful delivery of Via Crucis. The music seems to cross many
barriers. The choruses, solos and organ interludes are simple and diatonic, yet somehow fresh and
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original. The four soloists are first class. English and Italian translations are included.” - Church Times
(UK)
“fascinating.. the singing is excellent.. the acoustic and engineering first class. .overall a disc worth
buying for the singing alone” - Choir & Organ (UK)
“Exceptionally well performed and recorded” – Musical Opinion
“Soprano Gintare Skeryté is particularly impressive. The music is not especially dramatic, but it is often
impassioned... order the physical disc when you are as impressed as I’m sure you wil be.” – Brian
Wilson (MusicWeb Download Roundup) MUSICWEB DISCOVERY OF THE MONTH APRIL 2011
27003 Franciscan Road:
“An interesting and genuinely contemplative musical insight” - Northern Echo
27004 Pierucci: De Profundis:
“Pierucci’s musical language is conservative and should present no problems to most listeners. Mezzosoprano Gintare Skeryte has a clean, bright voice… The Aidija chamber choir sing admirably, with a
clear clean tone and they are never stretched by Pierucci’s music. The instrumental players give fine
support. The first (organ piece)is a set of variations on a theme of the 4th mode Alleluia which has a
strikingly Irish folksong-like cast... [The second organ] piece has the complexity, depth and even violence
that is lacking from the ‘De Profundis’ and gives us a glimpse of another aspect of Pierucci’s musical
personality.” - Robert Hugill (MusicWeb)
“The cantata… is conceived for chamber forces and as such has a lightness of tone rarely heard in
works of this ilk. The Alleluia Variations are beautiful, almost folklike, if an organ can be! The recorded
sound (of the organ works) is appalling but the first set of variations transcends this because of the
quality of the inspiration at work. The performers do the music and its composer full justice and the
whole enterprise shines out like a beacon of integrity in the midst of compilation and crossover driven
blandout.” - Neil Horner (MusicWeb)
“The music is not morbid, on the contrary it is tuneful and uplifting in spirit. It is written in traditional
European mode with just a hint of Eastern exoticism and is enjoyable to listen to. The performance and
recording is excellent. The presentation is good, and includes the full text of the poems in various
languages. The disc also includes two sets of organ variations played by the composer. The disc can
be recommended strongly to lovers of church music.” - Arthur Baker (Federation of Recorded Music
Societies)
Section 7: Athene, Athene-Minerva 23000 series
23001 (ATHCD1) “Three Square” – John Field Nocturnes:
“… she persuasively suggests an intimacy and transparency hard to parallel” – Gramophone
“Leach coaxes poetic sounds and plays this repertoire very sensitively” – Penguin Guide to Compact
Discs
23002 (ATHCD2) Haydn keyboard Sonatas:
“Ms Leach's tempi and choice of ornaments is very convincing… The performances are thoughtful and
reliable and it has proved to cause me to cogitate, which must indicate Jo Leach's expert skill in
communication.”
Performances  Recording  - David Wright (Musicweb)
“Leach plays cleanly and affectingly… It is to her credit that there is no wide gulf between her playing
and these fixtures of the modern virtuoso stage” – Paul Shoemaker (Musicweb)
“… the result is deceptively seductive and engrossing… “ - Hi-Fi World
23003 (ATHCD3) Four Square: Fortepiano Recital:
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“There is no more convincing fortepiano recital than this. Fine performances throughout, and excellent
recording. A fascinating way of discovering what the modern piano’s ancestors could do best.- Penguin
Guide to Compact Discs (2006/7)
23006 (ATHCD6) Die Schöne Müllerin:
“it is rare that a singer can cope with the technical demands, and yet still sound so convincingly
surprised by the turn of events. The accompaniment is excellent, shaping and imitating the words of the
singer. ”- Early Music Review
23007 (ATHCD7) Schubert Piano Music:
“… among the best I have ever heard” - Early Music Review
“… beautiful atmospheric effects… timeless quality… subtly coloured textures” – Gramophone
“it is interesting to hear how exciting the stronger passages become in Katin's hands… At a soiree in a
19th Century drawing room, Schubert's music may well have sounded like this. This is authentic musicmaking and stylish pianism” – Antony Hodgson (MusicWeb)
23008 (ATHCD8) Schumann Piano Music:
“… wonderful performance!” - BBC Music Magazine
“… an impressive CD of a confident musician not shy about his own ideas” – Pianoforte
23009 (ATHCD9) Peter Katin plays Liszt & Brahms:
“… the demonic rage of Katin’s astonishing interpretation… something to hear and wonder at” - Classic
CD
23010 (ATHCD10) Dussek Duos and Sonatas:
“… the timbres of the Grecian harp and square piano interweave and complement each other beautifully.
The playing is excellent throughout…” - Early Music Review
“The sound quality of the Athene CD is glowing and has a brilliant clarity which puts it firmly in the
drawing room, without the distraction of an overblown acoustic. This is a performance of sensitivity and
integrity, with a real understanding of the cadence, and the balance between both instruments and
players is just right. Joanna Leach absolutely shines in the stunning F sharp minor sonata. I recommend
buying the Joanna Leach and Derek Bell CD, as a recording to enjoy over and over again.” – Penelope
Cave (The Consort)
23012 (ATHCD12) Havergal Brian Complete Piano Music:
“Raymond Clarke presents intelligent and scrupulously prepared performance…The supporting artists
are excellent, Athene’s recording crystalline and beautifully atmospheric.” - Calum MacDonald, (BBC
Music Magazine)
“dedicated and skilful performances.” - Barbara Hammond (Classic CD)
“outstanding recording… an acutely sensitive response to this very beautiful music.” - Martin Anderson,
(Tempo)
23013 (ATHCD13) Titanic:
“The playing is impressive, the recording even more so…” - BBC Music Magazine
“This is an extraordinary piece… strongly recommended” - Musical Opinion
23014 (ATHCD 14) Bell: Symphony no. 2 etc:
“There is much to enjoy here… there is something about that symphony which intrigues me and I would
very much like to hear more by Bell.” – Rob Barnett (MusicWeb)
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nd
23016 (ATHCD16) – Tchaikovsky 2
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Piano Concerto/Shostakovich 9 Symphony
“Undeniable proof that clarity does not have to be sacrificed to excitement: Boyde turns in one of the
best interpretations I have yet heard. It’s a fabulous reading, tender and blisteringly exciting by turns,
with a dexterity that suggests Horowitz himself” – Martin Anderson (Fanfare)
“Boyde pulls off the storming stuff but is also very satisfying at spinning the cantabile. It’s a celebration in
romantic exuberance. No wonder the audience greeted it so enthusiastically. This is a fine live event with
all the associated frisson of risk and spontaneity. The playing in those faster movements [of the
Shostakovich] is remarkable” – Rob Barnett (MusicWeb 2011)
“Andreas Boyde is exactly the man for the job… Boyde more than any brings out the music in the notes.
Boyde is splendidly matched by conductor Johannes Fritzsch who is equally sympathetic to the score,
[In the Shostakovich}, too, the Freiburgers turn in top-notch playing…. Their performance fairly crackles
with excitement.: - Robert Markow (Fanfare)
“This performance [of the Tchaikovsky] has the electricity of a live performance and … it is well-nigh
perfect. I’ve been very impressed [with Boyde]. I particularly liked [the orchestra’s] ability to convey the
sassiness [of the Shostakovich]. And then there’s the bargain price. All in all, a recommended
recording.” – Scott Morrison (Amazon)
“Boyde makes detail come to life; he has an amazing capacity to build up long piano solos thereby
making them full of interest. His cadenzas are breathtaking and the clarity of his finger work is stunning...
he generates tremendous excitement. He has enviable lyrical gifts ... The orchestra and conductor must
also be congratulated. The exemplary recording greatly aids the clarity of detail.” - David Wright
(MusicWeb 1997)
23017 (ATHCD17) Pictures and Reflections:
“almost awesome perfection” - Nürnberger Zeitung
“consummate skill and breathtaking ability” – MusicWeb
“a very satisfying reading indeed. An illuminating attempt to get beyond Mussorgsky’s words, behind the
notes. And it succeeds admirably. To couple Pictures with Miroirs is clever wordplay that also works on
musical terms. Again Boyde’s interpretation reaches beyond virtuosity to let the music speak through the
contrasts realized in the clarity that his remarkable technique permits. Excellent piano tone – some
wonderfully sonorous passages.” – Martin Anderson (Fanfare)
23018 (ATHCD18) Shostakovich Preludes:
“This disc is an absolute winner, a real cracker…The recording sound is brilliant, close, vibrant and it
has a very exciting attack. The performances are legendary and superlative… These are the definitive
versions… the highest quality.” - David Wright, (MusicWeb)
“Clarke’s playing is breathtakingly precise … His range of expression is enormous … the best piano
sound I have heard on CD, with enormous presence and a striking sense of perspective… electrifying
pianism… a towering achievement – and mandatory acquisition for anyone who cares about music.” Martin Anderson (Fanfare)
“Clarke is a powerhouse… Clarke is perfect” – American Record Guide
23019 (ATHCD19) Szymanowski Sonatas:
“Raymond Clarke is a staggering pianist of exceptional gifts … Raymond Clarke’s performances are
almost breathtaking … irresistible.”- MusicWeb
“impressive musicianship and refined sensibility.” - Classic CD
“[Clarke] is second to none in terms of sensibility and keyboard command. His version of the First
Sonata is particularly convincing. Good recording.” - Penguin Guide to Good CDs
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23021 (ATHCD21) Dvorak & Schoenfield Piano Concertos:
“Boyde’s performance is breathtaking” - HiFI News and Record Review
“Andreas Boyde's performance is both very exciting and gloriously effective. So good is [the Schoenfield]
that it makes George Gershwin sound like an amateur. What joyful, witty and totally absorbing music this
is. As for the piano playing, one can only exclaim astonishment and admiration. It is a sensational
success. The recording is exemplary.” – David Wright (MusicWeb)
“breathtaking… magnificent” - Dresdner Neueste Nachrichten
23022 (ATHCD22) Haydn Keyboard Sonatas:
“Joanna Leach’s playing is characterful and tasteful. There is no sense of superficial showiness, and
plenty of good musicianship” - Early Music News
“One cannot but enjoy this disc, for its multitude of colours and emotions, for the true joy that Joanna
Leach brings to this great music.” - Kirk McElhearn (MusicWeb)
“Charles Burney wrote of Haydn, ‘There are painted on his countenance all the genius, goodness,
propriety, benevolence and rectitude which constantly characterise his writings’. I believe that Joanna
Leach has displayed all these qualities in her interpretations.” – Penelope Cave (The Consort)
“Leach plays cleanly and affectingly… It is to her credit that there is no wide gulf between her playing
and these fixtures of the modern virtuoso stage” – Paul Shoemaker (Musicweb)
23024
Chopin Scherzi & Impromptus:
“D’Ascoli’s well-rounded technique meets every demand… Textures are clear, melodies are shaped with
a singer’s sense of line, and inner voices are handled with subtlety. He also has a fine sense of
structure… directness of approach, firm rhythm, tonal refinement and judicious use of rubato…[an]
impressive disc” – Charles Timbrell (International Record Review)
“d’Ascoli brings you as close to Chopin’s intentions as could be possible… a unique extra ingredient to
the whole. Soak in Bernard d’Ascoli’s delight in flinging his deft fingers into dramatic bouts of virtuosity,
yet never losing the overall shape and purpose of the musical architecture.” – Denby Richards (Musical
Opinion)
“Solid, stylish and communicative mastery” – Jed Distler (Gramophone)
“Measures up very well, with the notes seeming to glow” – Michael Church (The Independent)
“impressive sound, fine technique, and unfailing musical values” – Becker (American Record Guide)
“The Scherzos have what it is necessary of heroic spirit and expressive frisson, the Impromptus of
smoothness and lyricism, the Nocturnes of melancholy grace. A very beautiful pianistic work” – JF (La
Marseillaise)
23025
16 Scarlatti Sonatas
“outstanding musical and technical quality…Joanna Leach’s versatility and intelligence is made clear…
the thoughtful balance of Leach’s playing is striking… these interpretations present the sonatas free from
artificial drama or even technical awkwardness.” – Alexander Rapp (Klassik.com)
“Joanna Leach gives us playing that is intensely and exquisitely expressive. Her response to melodic
shape and harmonic meaning, her delicacy of touch and total commitment to the piano she has chosen
is outstanding. Here is a performer who is immersed in the music of that period, and she casts a
persuasive light upon some of the rarer, slower sonatas. Joanna opens our ears in quite a fresh way to
the often overlooked, fragile beauty of the treasures within.” - Penelope Cave (The Consort)
“Leach's performances are characterised by clarity of thought and texture; they are intimate, measured,
satisfying. Good modern recorded sound, and Divine Art's usual crisp presentation” – Ying Chang
(Musical Pointers)
“Joanna Leach is an excellent artist... [she] plays the sonatas very well” – Johan van Keen (MusicWeb)
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23026
A Century of Domestic Keyboards
“The recording is beautifully judged throughout, very close and capturing the finest of nuances. Leach’s
performances are first-rate, stylish and alert, with impeccably pointed ornaments. The booklet notes by
Andrew Lancaster are very informative, complemented by colour photographs of each instrument. Highly
recommended: domestic instruments they may be, but they are of a quality and character which is
remarkable to hear.” - Nicholas Salwey (International Record Review)
“Period instrument specialist Joanna Leach takes us on a journey through the development of keyboard
instruments. This unique recital of elegantly played music vividly brings to life the sounds of another age.
– New Classics
“There is no denying the pleasure of experiencing the music of Mozart, Handel and Schubert in a
domestic setting and as it would have been heard in the instruments of the day. Joanna Leach’s playing
is intimate, stylish and pleasantly unassuming.” – Jeremy Nicholas (Gramophone)
“A thoroughly enjoyable album finds Leach playing for the clear joy of it...A tasty work with a nice
concept”. - Chris Spector (MidWest Record)
“Joanna Leach is an excellent artist... the instruments presented here are very interesting and not easily
th
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available on disc. They shed light on a virtually ignored aspect of music-making in the 18 and 19
centuries.” – Johan van Keen (MusicWeb)
“Joanna Leach adds to her well-respected output of recordings of square pianos with an eclectic
programme of pieces on three pianos and a spinet. Joanna Leach articulates clearly, although there is a
st
lack of contrasting over-holding and thus warmth of sound. However, at the 21 track... her playing
transports us into another realm as soon as the third instrument, the Stodart square piano of 1823, is
touched at the opening of the Soler sonata.” – Penelope Cave (The Consort)
23201
Chopin Nocturnes:
THE GRAMOPHONE EDITOR’S CHOICE MARCH 2006
“a fascinating and stimulating experience…assured and brilliant technique and a natural sense of poetry
and sound. A joy to hear.” – Denby Richards (Musical Opinion)
“This ranks among the most remarkable of Chopin Nocturne recordings… performances of a living,
breathing presence. The recordings are vivid and immediate. A revelatory, probing disc… D’Ascoli
announces himself as a top-flight pianist” – Bryce Morrison (The Gramophone)
“This superb double CD presents Chopin by a pianist of astonishing skill and musicianship … Bernard
d’Ascoli’s interpretation of the Nocturnes is full of feeling, drama and serenity, demonstrating his genuine
love for the music.” (2006 New subscriber offer CD) - Piano Magazine
“D’Ascoli has a sound that is clear, liquescent and very appropriate to Chopin. He is a pianist who
sounds at one with the instrument, and conveys the feeling that this really is his music. [This release] is
of considerable interest… whose totality upholds the distinction of its individual parts.” – Stephen Pruslin
“The Scherzos have what it is necessary of heroic spirit and expressive frisson, the Impromptus of
smoothness and lyricism, the Nocturnes of melancholy grace. A very beautiful pianistic work” – JF (La
Marseillaise)
“An artist of such exceptional sensitivity and tonal refinement in music that suits his style so well… a
very considerable achievement. It is surely playing that the composer himself would have recognised”Tony Haywood (MusicWeb)
“deeply probing, exploratory, performances... bold… persuasive… compelling. His rubato… makes his
Chopin alive and self-renewing. Performance  Sound  - Tim Parry (BBC Music
Magazine)
“ The Frenchman Bernard d’Ascoli has perfect command of [rubato] and I’ve enjoyed his new 2-CD set
of the Nocturnes… playing of authority and definition of character. And Bach as well as Chopin would
have approved of the exemplary part-playing. There is drama and declamation here, as well as lyricism
and sensitivity to the fundamental alliance of vocal music with Chopin’s writing” – Stephen Plaistow
(BBC Radio 3 CD Review)
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23202 Schumann, Franz & Brahms Lieder:
“exceptional performances, excellent recordings.. beautifully presented account of Dichterliebe. The
revelation comes with the Robert Franz settings…each an individual vocal jewel.” – Denby Richards
(Musical Opinion)
“[Loge’s singing quality] is very beautiful.. Alexander Schmalcz is a very fine accompanist. This is a great
release all round” – Althouse (American Record Guide)
“a consistent, thought-through interpretation… reinforces the intensity of approach… an admirable
stroke of planning [to include the Franz songs]. Loges and his admirable partner are beautifully
recorded.. [a] stimulating recital” – Piers Burton-Page (International Record Review)
“Loges is a sensitive interpreter, beautifully recorded with a warm toned piano behind him - his hushed
singing of the second stanza of [the Brahms Lullaby] showing him at his finest” – Christopher Howell
(MusicWeb)
“Loges sings with sensitivity to the text [and is] best suited to the more sombre sound of Brahms. A
chance to hear [Franz’s] music sung by a good singer” – R. Moore (American Record Guide)
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Section 8A: Metier
MSV 28501
Ferneyhough Choral Music
“Brian Ferneyhough’s music… inhabits a rich and roomy imaginative world, including the astonishing
Missa Brevis. This performance generates an intense expressive heat, shot through with passages of icy
calm.” - Performance  Sound  - Ivan Hewett (BBC Music Magazine)
“This is a rather special addition to Ferneyhough’s discography. The interpretative standard of these
performances is uniformly high, as is the quality and presence of the sound recording; but in “Stelae” the
results are exceptional” - Fabrice Fitch (Gramophone)
“This disc offers an overview of unexpected inclusiveness. All the performances are as authoritative as
one would expect. Presentation is up to Metiers high standards.” – Richard Whitehouse (International
Record Review)
“All authentic pieces for choir, though they all need a hugely proficient one like the BBC Singers. The
mass is particularly welcome, for it's one of the most important of Ferneyhough's early works…
Powerfully wrought and fiercely concentrated, it shows how far stylistically Ferneyhough had developed
and set the agenda for the extraordinary series of pieces that followed in the next decade.” - Andrew
Clements (The Guardian)
“fascinating music…a must for anyone enjoying the contemporary scene”  – Nottingham
Evening Post
“An impressive disc” – Paul Driver (Sunday Times)
"Shows a characteristic virtuosity of texture and timbre. [Missa Brevis] is a fascinating piece to listen to.
Caring performances." - Peter Palmer (Tempo)
MSV 28503
Maxwell Davies – Ave Maris Stella etc
“Absolutely superb” – Malcolm Hayes (BBC Music Magazine)
“One of [the composer’s] profoundest and most luminous works…it comes over here with an idiomatic
ease and brilliance that make the work seem truly classical. Vintage Max indeed.”  - Paul Driver
(The Sunday Times)
“The performances by the members of Gemini are superbly committed and convey the excitement and
timbral beauty of this music in a very impressive manner. Balance and blend is superb and well
captured. This first-rate disc is recommended to active listeners with open ears.” - William Nichols (The
Clarinet, USA)
“In a way this disc is iconic contemporary music of our times - challenging for performers and for
listeners but not unfriendly. It gives a sense at the end that you have not wasted your time and that you
have heard pieces worth their space in the world and the disc a space on your over-loaded shelves. You
feel that the music says something and that the players believe in it. The recording is first class and the
highly professional presentation of accompanying booklet and photographs helpful and serious. All in all
a deservedly high quality product delivered from the hands of top musicians.” - Gary Higginson
(MusicWeb)
“Ave Maris Stella, written in 1975, is a signature piece and a tour-de-force… a sphinx-like compositional
enigma, brilliantly decoded by Gemini.” - Philip Clark (Classic FM Magazine)
“Ave Maris Stella is one of Peter Maxwell Davies's greatest achievements, and one of the most powerful
of all instrumental works. It's a tough, thrillingly sustained musical argument, and a piece that's as
challenging for the performers as it is for the first-time listener, but the Gemini players seem to be totally
on top of its thematic intricacies and finely honed lyricism.” – Andrew Clements (The Guardian)
“Composed in 1975, the instrumental sextet Ave Maris Stella is one of the composer’s greatest
achievements. The Gemini Ensemble make this tough, knotty composition ... totally compelling.” – Andy
Hamilton (The Wire)
102
“A modern recording of Ave Maris Stella has long been needed. The impact of Gemini’s performance, in
this properly concentrated acoustic environment, is more than enough to explain the high place accorded
to the work.” – Arnold Whittall (Gramophone)
“Gemini make a fine noise: playing with great panache on this disc, and with a clear affinity with the
composer’s craftsman-like idiom. The studio recording, while a little on the dry side, is also very good.” Dominy Clements (MusicWeb)
“Peter Maxwell Davies, the enfant terrible of British music back in the 1970s, has since become an
established composer. Psalm 24 ... is quite quiet music, gentle and beautifully arranged. Economies of
scale... does have an affinity with Messiaen. [In Ave Maris Stella] the composer creates some
remarkable and fascinating instrumental blends. The generally quiet (one might say almost subdued)
mood of this recital draws listeners inward rather than pushing them away.” – Lynn Rene Bayley
(Fanfare)
“Despite its diatonic roots, the perpetual variation concept and 70s chromatic serialism make imposing
demands on [the] listener’s patience and attention ... but people who don’t care about such things could
still appreciate the sheer virtuosity involved. You will certainly value this excellent performance.” –
“Gimbel” (American Record Guide)
MSV 28504
Ferneyhough Chamber Music
“A well-programmed selection...superbly performed by Ensemble Exposé. The superb Christopher
Redgate’s....assured pyrotechnics make what is otherwise ferociously taxing music easier on the ear.” –
Andy Hamilton (The Wire)
“More immediately attractive alternative to existing versions. The string ensemble is more incisive and
more crisply recorded here. Taken overall it’s an attractive package.” – Fabrice Fitch (Gramophone)
“The performances are as persuasive as one has come to expect. The recorded sound is well-nigh ideal
. Those unfamiliar with Ferneyhough’s chamber output could not hope for a better induction.” – Richard
Whitehouse (International Record Review)
“There is wit and an extreme version of sensuality built into his work, especially when experienced live...
This composer’s music looks fearsome on the page, but to the ear it’s accessible. The meaning is what
matters, and Ferneyhough says his music is about “life.” I’d agree: life as it’s lived, thought about,
struggled with, reconsidered. Ferneyhough collectors will want all Ferneyhough CDs, including this one.”
– Paul Ingram (Fanfare)
“Ferneyhough is leading the way in England in contemporary classical music by charting such uncharted
musical waters as the works represented here. Not trying to make this easy, he likes pushing the
envelope, making you pay attention to the journeys he takes everyone on.” – Chris Spector (MidWest
Record)
MSV 28505
Cristo Barrios – contemporary clarinet
“Cristo Barrios and Clinton Cormany present...[their repertoire] in the best possible light. In the lower
registers Barrios has a wonderfully rich tone and he is an alert, sensitive player. Cormany contributes as
much musical intelligence to the programme as Barrios.” – Raymond S. Tuttle (International Record
Review)
“A superb showcase for the prize-winning clarinettist Cristo Barrios. His tone is not just beautiful but
finely graded over the widest dynamic and expressive range. Barrios is a credit to his teachers, well
matched by his pianist, Clinton Cormany.” – Edward Greenfield (Gramophone)
“[Barrios] can certainly play and this very varied recital gives him ample opportunity to display us his
abilities. Bernstein’s Sonata... is a gem and would grace any recital. With such fine playing from both
musicians, every piece comes alive and speaks in its own voice. The sound is good. Most enjoyable.” –
Bob Briggs (MusicWeb)
“Cristo Barrios is definitely a terrific talent on the clarinet, his sound is silvery and he has a wonderful
sense of dramatic timing. This will be a treat. The sound is warm and responsive... an enjoyable recital
and Cristo Barrios is definitely a clarinettist to keep an eye on” – Dave Lewis (Almusic)
103
“A nice balanced programme to extend 20c. clarinettists' repertoire, without venturing too far into
extended techniques etc. All well played and recorded by Simon Fox.” – Peter Grahame Woolf (Musical
Pointers)
“A nice recital for clarinet and piano...These two pros are on top of their game and can make this basic
instrumentation sound like a lot more. Charming in its deceptive simplicity, the best cats always make it
look easy.” - Chris Spector (Mid West Record)
th
“This compilation of 20 century music for clarinet and piano draws together works infused with melody,
such as the Bernstein and Bax sonatas, with the atonal qualities of Alban Berg’s work...the piece by
conductor/composer Esa-Pekka Salonen is also a work that demands close listening. Great playing!” –
John Brunning (Classic FM Magazine)
MSV 28506
th
Laurence Crane – 20 Century Music
“Underneath a facade of seeming simplicity lies music of great beauty, emotion and originality, written
with sincerity in a language of timeless freshness. Crane’s art is too important and too beautiful to miss.
This is an important issue, produced with marvellous, clear sound, very sympathetic performance, fine
notes... buy it and enjoy.” – Bob Briggs (MusicWeb)
“The music on this new CD from the adventurous Metier label is very quiet and simple. The effect is
gently disturbing, even perplexing. The performances by Michael Finnissy seem just right; he doesn’t
seek to make any dramatic points in the music. In a sense he allows the music to play itself, to make its
own statement. Yet the emotional and technical difficulties should not be underestimated; Finnissy’s
control throughout this long disc is admirable. The recording engineers are to be praised as well.” –
David Hackbridge Johnson (MusicWeb)
“This is a fine piano recording, and Michael Finnissy’s peerless playing is of course unsurpassed in this
kind of material. I admire Laurence Crane’s expressive mission and musical honesty, and am delighted
to have been allowed a good long look into his output for solo piano. For me it was a little like peering
into a coral reef in a glass-bottom boat – full of timeless beauty.” – Dominy Clements (MusicWeb)
“Post modern minimalist piano music by a contemporary classical composer as played by a piano man
that seems to be in synch with the composer... this almost feels like classical music for high tech minds.”
- Chris Spector (MidWest Record)
“Spanning 1985 to 1999, Crane’s solo piano works cultivate a consistent style, easily pigeon-holed as
minimal... Expanses of evenly voiced chords offer opportunities for subtlety, as with Prelude No. 3’s
fade-away and the momentarily quickening pace in Blue Blue Blue.” – Grant Chu Covell (La Folia)
MSV 28507
Northern Lights
“The range of worthwhile issues on the Divine Art label continues to expand with this outstanding release
of three relatively recent string quartets by British composers. The most important work here is that by
Robert Saxton... utterly compelling in its strength and sheer passion. The performances, in the absence
of scores, seem very fine and totally committed, and the recording quality is excellent. Very strongly
“There are some good helpful notes and the sound quality is first class. Well done to Metier for giving
[these recordings] the oxygen of publicity” – Jonathan Woolf (Music Web)
“John Casken’s quartet stands out on an excellent disc...touch and timbre beautifully captured by the
Kreutzer Quartet.” – Andy Hamilton (The Wire)
“The Kreutzer Quartet’s strong performances reveals [the three works’ powerful individuality. Casken’s
quartet certainly adds up to an impressive whole, as does, in a very different way, Judith Weir’s. Robert
Saxton’s quartet is perhaps a slightly tougher nut... at its heart is a darkly meditative slow movement. It
has taken a long time for this release to reach the market, but it was worth the wait.” – Piers BurtonPage (International Record Review)
“Everything falls right into place on this set that explores fun, upbeat stuff that is dancing right on the
edge of being party music in its own right.... this delightful ear opener is nothing less than a real treat.” –
“Recorded at the turn of the millennium, the Kreutzers respond brilliantly to all their music's mercurial
demands.”  - Peter Palmer (Nottingham Evening Post)
104
“[Casken’s Quartet is audience-friendly... I enjoyed it... a fine performance” – Peter Spaull (Liverpool
Daily Post)
“The Kreutzer Quartet's triptych of British string quartets from the 1990s can be enjoyed as a single
journey: cold, colder, coldest. The performance is strong” – Anna Picard (The Independent)
“What does link the works is craftsmanship and integrity, as well as the obvious care with which the
Kreutzer quartet performs them.” – Andrew Clements (The Guardian)
MSV 28508
Edwin Roxburgh Oboe Music
“A progressive thinking contemporary classical composer as well as a fine player, Roxburgh’s work is in
fine hands with Redgate at the wheel. It all adds up to something special” – Chris Spector (Mid West
Record)
“For superhuman technical slickness, Redgate has it sewn up. Redgate us also a considered player of
lines...he walks Roxburgh;s snaking line with deft poise.” – Philip Clark (Gamophone)
“Edwin Roxburgh... is a fine craftsman with an astute ear and a real sense of structural design... more
than evident in this collection given superb performances by Christopher Redgate, the most
distinguished of contemporary oboe players. This recording is not only exquisitely performed, but clearly
and sympathetically balanced.” – Patric Standford (Music and Vision)
“Christopher Redgate plays wonderfully throughout... he gets superb support from all concerned and the
whole is beautifully recorded. This very fine disc is an excellent survey of Roxburgh’s oboe music.” –
Hubert Culot (MusicWeb)
“This particular disc is one of a welcome number recently devoted to [Roxburgh’s]compositions. The
instrumentalists all play with the most adroit technical and expressive control. Christopher Redgate
vanquishes one virtuosic challenge after another and brings to these works an eloquent awareness of
their variousness.” - Jonathan Woolf (MusicWeb)
“Oboists owe a huge debt to Roxburgh. The highly accomplished Christopher Redgate offers a
fascinating overview of Roxburgh’s prolific and visionary output.” – Stephen Pritchard (The Observer).
“Stylishly performed...Roxburgh never substitutes trickery for musicality. Study 1... and Aulodie have an
admirable lyric purity” – Paul Driver (The Sunday Times)
MSV 28509
Thirty-nine Pages
“Morgan and Dullea’s playing is absolutely perfect here, retaining an essential objectivity while attending
precisely to every detail of this poised and intricate music” – Tim Rutherford-Johnson (Musical Pointers)
“Violinist Darragh Morgan and pianist Mary Dullea go to work on this intriguing material with panache.
The work is beautifully performed and spaciously recorded.... a delicately put together and intricate set of
movements” – Catherine Nelson (The Strad)
“Certainly a good bet for the musically adventurous” – Chris Spector (MidWest Record)
“An oddly engaging work... sufficient material to keep one wanting to hear more. The music is compelling
in a strangely hypnotic and disturbing way. You [must] listen to it and give the music time to get inside
you. The performances are very fine.” – Bob Briggs (Musicweb)
“This music poses as many questions as it answers. Whitty is playing games with our memories – both
our assumptions about what we think 19th century music might sound like, and about how his music
restructures the debris.” – Philip Clark (The Wire)
MSV 28510
Out of the Cool
“Milan’s flute playing is a joy, her musicianship scintillating, matched by Ball’s sensitivity, and the
sequence is engaging” – Paul Driver (The Sunday Times)
105
“This recital could hardly be bettered... one can hardly imagine any [of the pieces] being better
performed. Sparkling performances... excellent recorded sound.” – Martin Anderson (International
Record Review)
“Susan Milan is an influential exponent of the modern flute. Her playing has a unique voice within the
flute world... Milan’s playing is expertly accompanied by pianist Andrew Ball. This is an excellent
collection of new British repertoire, which gives the works well-deserved exposure. Milan plays with a
strong tone and a sense of conviction as well as impressive technical control. Andrew Ball’s piano
playing is excellent throughout.” – Carla Rees (MusicWeb)
“If you are looking for a good recording of contemporary music for flute and piano you need look no
further than here. Flawlessly played.” – unnamed reviewer (Flutewise magazine)
“Miss Milan has the full measure of the expressive and technical demands of these works, and is to be
thanked for giving us a stimulating recital which will ,it is to be hoped, encourage other players to seek
out and champion British music of this quality” – Christopher Steward (Pan – the Flute Magazine)
“There’s a cool air to quite a few works here... Susan Milan proves a first class, characterful and
unimpeachable guide. Andrew Ball offers staunch and imaginative support” – Jonathan Woolf
(MusicWeb)
“It is refreshing to encounter something like this, chock with contemporary British music for flute and
piano. Milan’s sound can be fat and dense or transparent as the occasion demands, and Ball rises to
every pianistic challenge offered here” – Gorman (American Record Guide)
“A useful collection of music that flutists should consider for their recitals... despatched confidently by
this established duo.” – Peter Grahame Woolf (Musical Pointers)
MSV28511
Bach Plus
“A hugely interesting double CD...all exhilarating stuff, passionately performed and superbly recorded” –
“His Bach is... nimble-footed. Zimmermann’s Sonata Heinen despatches with authority. Heinen shows
lyricism, charm and humour, great control and narrative flair The recording is clean and close.” – Tim
Homfay (The Strad)
”The music usually dances when it needs to.... the quicker movements move forward with involvement.
The fine sound [of the 1722 cello] has been captured with realism.” – Raymond S. Tuttle (International
Record Review)
MSV28512
Sax Music
“Enjoyable stylistic ground...[the Sonata] announces Fortmann as an unstuffy admirer of the colloquial
American muse.. Fortmann is no stuffed shirt, no long-hair merchant, and no purveyor of tone-rows. His
music is locked into jazz, and rock back-beat and the sinuous song of of saxophonic yearning. His
musicians serve him finely, and they’ve been well recorded.” – Jonathan Woolf (MusicWeb)
“This album gathers together for the first time all of Fortmann’s works composed for the saxophone...
[they] show Fortmann’s development as a key composer for the instrument. The outstanding performers
include Marco Falaschi and the Berlioz Saxophone Quartet.” - John Pitt (New Classics)
“a fine sax tour de force - a composer who … deserves a wider audience. A real treat for the open
eared.” – Chris Spector (MidWest Record)
MSV28513
Greatest Hits of All Time
“This is an excellent disc of well written and imaginative repertoire. Christopher Redgate’s playing is
dazzling throughout, and the ensembles with whom he performs are similarly excellent” – Carla Rees
(MusicWeb) – Recording of the Month (December 2009)
“[The title track by Finnissy is] fascinating. The other works are so good that the disc title is warranted
none the less. Redgate plays with tremendous zest.” – Paul Driver (The Sunday Times)
“A stimulating recital of challenging recent pieces…all played by Christopher, the masterly virtuoso.
Excellently recorded with clarity, this is a recital to capture a wide range of interest:.” – Patric Standford
(Music & Vision)
106
“A stylistic survey of the demands that British music can make today... Redgate's command of the whole
spectrum of effects is extraordinary; the disc is sometimes challenging, but always engrossing.” Andrew Clements (The Guardian)
“For a composer it is the greatest gift one could receive when an oboist of such artistic fervor and
intellectual vision as Christopher Redgate proclaims his occupation of this fresh and vital new territory.
This CD is a remarkable statement and an example of oboe playing for a new age. With an ambassador
as brilliant as Christopher Redgate, the oboe has become a leading instrument in the evolution of
classical music” – Edwin Roxburgh (Double Reed News)
“This program makes high demands on listeners… not for the faint of heart, not for the timid. As a
musician and performer, I recognize the high level of technical achievement here but this is the type of
music that demands more of us that just passively expecting beauty to arise from a work of art. Worth
finding. The music challenges us, and everyone needs to be challenged now and again.” – Schwartz
“What links [the diverse works] is Christopher Redgate’s virtuosic oboe playing” – Classical Music
“If [in the Finnissy], the point is to reclaim authenticity from material expressively blunted through overexposure, it's a point powerfully made… Christopher Fox's elegant Oboe Quintet weaves enigmatic note
patterns…” – Philip Clark (The Wire)
MSV28514
Silence of the Night
“[Silentia Noctis] has a vocal line acutely sensitive to the texts and a hinting, alluding and prompting
piano line, this is a fine and in many ways compelling setting. Caroline MacPhie and David Jones, both
excellent. [Duologue is a] thoroughly convincing and appealing work. Lewis has been admirably served
by his engineers and by committed and subtle performances” – Jonathan Woolf (Music Web)
MSV28517
Inward
“A superbly conceived programme… the album has been six years in preparation, and effort totally
justified by the results. Remarkable mastery.” – Andy Hamilton (The Wire)
“A display of excellent technical virtuosity of which Craig derives to be proud… thoroughly gripping and
exciting to listen to. Richard Craig is a master of contemporary techniques for his instrument. He
approaches the avant-garde with an obvious technical control and clear musical understanding and the
music is well communicated. The disc has much to offer in terms of both its repertoire and quality, and
there is a pleasing consistency of standards throughout.” – Carla Rees (MusicWeb)
“There is a conviction and enthusiasm in his playing that holds your attention and promotes the idiom as
well as anyone else can. Anyone who has an interest in the avant-garde will find reward in the playing
and selections here.” – Gorman (American Record Guide)
“Commanding and often beautiful authority. The first essential new music CD of 2011?” – Tim
Rutherford-Johnson (The Rambler)
“Astonishing virtuosity… all of the music on the disc is ferociously original. An album that fully engages
the listener… [an] important and essential release.” – “Pliable” (Overgrownpath.com)
“Inward has been in development for six years and the quality of Craig’s presentation and attention to
detail shows this. Richard Craig is certainly [a champion] to be reckoned with. This is music to take
slowly and with an open mind. It grows on you..” – Peter Grahame Woolf (Musical Pointers)
“Remarkable playing, remarkable possession of the music by the performer through a wide range of
style and situations. This is a record full of fluting life” – Paul Griffiths (disgwylfa.com)
MSV28519
White Dawn
“Meticulously organized instrumental and chamber pieces… superb anthology… Lumsdaine snatches
empiric sound sources from an open-ended world of possibilities. These performances prove deeply
sensitive to Lumsdaine’s needs, with a special nod going to pianist Peter Lawson. A lesson in musical
possibility and artistic skill from a composer of rare sonic vision.” – Philip Clark (Gramophone)
107
“This double CD has ... seen the light of day and, like a rare flower, at last blossomed into being. Every
note is perfectly placed and none wasted ... all the participants interpret this music with consummate skill
and devotion to detail.” – Richard Leigh Harris (Tempo)
“These discs sum up Australia and its culture superbly well. Lesley-Jane Rogers is an absolute delight.
Peter Lawson is quite brilliant and utterly convincing... John Turner’s magical playing... vivid and exciting
performance. Excellent booklet... a composer with much that is original to say.” – Gary Higginson
(MusicWeb)
“Lumsdaine is a master of scale. Most of these pieces are aphoristic miniatures.. [they] encompass
complete musical universes in their tiny durations. The longer pieces are hypnotic. In them one loses all
sense of time and comes away with a feeling of time well spent. This is music of profound stillness
despite its often disjunct, almost Webernesque intervals. Soprano Lesley-Jane Rogers is unflappable in
the face of this music’s demands...accuracy of pitch, tone production and excellent diction. Recorder
virtuoso John Turner becomes a cosmic bird, pianist Peter Lawson comfortably navigates the daunting
demands of Cambewarra. The recorded sound is first-rate by today’s standards” – William Zagorski
(Fanfare)
“What an inspired idea to bring out a double CD of David's Songs and Soundscapes . I love the
wondrous performances and David's achingly-beautiful poetry. I love the booklet, the engineering and
everything about it” - Peter Sculthorpe, foremost Australian composer
“An unusual but rewarding feature… is the five Australian Soundcapes. All the perfomers enter
Lumsdaine’s musical world with skill and enthusiasm, and perform a representative programme of his
music with which any composer would be delighted. We can enjoy exploring the works of one of
Australia’s most creative and individual musicians.” – Andrew Mayes (MusicWeb)
“The [Soundscapes] are vivid and intense and they do create an atmosphere.. the music, often freely
tonal, often quite abstract… captures [Lumsdaine’s] intertwined passions for music and nature.” –
Kilpatrick (American Record Guide)
“John Turner continues to impress… Deserving of particular note is the double-disc set White Dawn…
thoroughly enjoyable, beautifully engineered.” – Tom Bickley (American Recorder)
“This is challenging music for the listener… but not without its rewards. The sound recording is excellent,
though the cellist's breathing is rather audible in Blue on Blue. The booklet is glossy and informative,
with biographies, poem texts and interesting and well-written notes by [Anthony] Gilbert. More than a full
CD's worth of [Lumsdaine's] works here that any lover of contemporary music should be familiar with.” –
Byzantion (MusicWeb)
MSV28520
Veale and Crawford chamber music
“These two composers make fascinating and well-contrasted bedfellows. The indomitable John Turner is
more than aided by the Adderbury Ensemble… graced by the lyrical and silky tone of Linda Merrick.
Superb and understanding performance … fascinating and enterprising disc.” – Gary Higginson
(MusicWeb)
“The music encompasses various moods and much if the invention is both fresh and strikingly original.
Veale knows how to write a melody and to present it cogently. [Crawford’s] Clarinet Quintet is a
fantastically imaginative piece and is surely one of Crawford’s masterpieces. This is a generously timed
disc and the enterprise… is to be valued.” – Rob Barnett (MusicWeb)
“John Veale left for us a wealth of fine music that deserves greater exposure. String Quartet [is] and
energetic and yet lyrical, imaginative work. [Crawford’s] Two Part Inventions for recorder and clarinet…
an unexpected combination that is well managed” – Patric Standford (Music and Vision)
“The music is well crafted, well performed, and it is worth getting know…” - Alan Swanson (Fanfare)
“The main attraction… is the admirable String Quartet by John Veale. The music of Robert Crawford…
is a bit more angular and forward looking in its layout which serves as a good foil to Veale’s more
traditional views. The three works on the CD well exploit the chamber music idiom. The Adderbury
Ensemble, John Turner and Linda Merrick all come across with conviction… their emotional perceptions
serve the music very well. Metier… has done us a fine service.” – Jean-Yves Duperron (Classical Music
Sentinel)
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“English recorderist John Turner continues to impress. The work [of Veale and Crawford] stand richly in
the tradtiion of Ralph Vaughan Williams, Turner plays with grace and expressive, yet restrained, taste
that fit the music well. OF special interest is Crawford’s Inventions… playful, tuneful, enjoyable for the
listener.. the instrumental timbres work very well together.” – Tom Bickley (American Recorder)
“Likeable harmonic language… a pleasing modern mix of tonality and atonality. The playing of John
Turner and Linda Merrick is admirable, but the beautifully prepared performances from the Adderbury
Ensemble are most impressive.” – David Denton (The Strad)
“At last... John Veale’s String Quartet is available… [a] gem. [The Impromptu] is magical. Crawford has
comparatively few works to his name but is rightly admired… he is a craftsman of the highest order.
Splendid music. John Turner is known as the UK”s finest recorder player and his performances are
excellent and reliable. [ Linda Merrick’s] sound and intonation is first class. The Adderbury Ensemble
are also very good as is the sound. An important CD.” – Linda Karen Dowson (Wrightmusic.net)
“[this] new CD of three of [Veale’s] chamber works is most welcome. Impromptu for solo recorder, with
its impression of a skylark singing at full throttle, is an amazing demonstration of the recorder’s
versatility. Expertly recorded, the Adderbury Ensemble plays with great commitment throughout.” – Giles
Woodforde (Oxford Times)
MSV28521
Rochberg: Violin Sonata/Caprice Variations
“[Rochberg’s] sonata of 1988… conveying intense feeling. The Variations… intricate solo violin work..
always with purpose and impact.” – Phillip Sommerich (Classical Music) EDITOR’S CHOICE CD July
2011
“Metier continues its faithful dedication to contemporary music by adding this remarkable release to its
already abundant collection. An outstanding recording that provides wonderful listening experiences.” –
Danny Kim-Nam Hiu (ConcertoNet)
“Rochberg is never one to be penned down, as these current offerings demonstrate. [The Variations] is a
remarkable series of 50 variations and an overture, quite long but endlessly fascinating. I find[the
Sonata] engrossing and highly expressive, a would-be repertory piece if only more violinists had the
courage. The sound on these two discs is very fine… the playing by Rochberg friend Peter Sheppard
Skaerved must be considered definitive… warmly recommended.” – Steven Ritter (Audiophile Audition)
“Rochberg’s boundless imagination and application of sometimes outrageous technique might well have
surprised even Paganini himself… the violinistic terrors that lurk within both the Sonata and the very
capricious Variations are, with few exceptions, water off a duck’s back to Skaerved, who gives a very
expressive, technically assured performance of enormous strength. Sound quality is high … the CD
booklet is glossy and highly informative … in the final reckoning this is a quality release, and Metier must
be forgiven for re-issuing the Caprice Variations. In fact they should keep on doing it every few years
until the world starts taking more notice of George Rochberg’s unique contribution to music history.” –
Byzantion (Music Web)
MSV 28522
Pipings and Bowings
“[Hurd]’s music is markedly more tuneful than that of his mentor Michael Berkeley. The immediate
attractiveness of most of [Milford’s] works bear out their aptness for children. [Blackford’s] Concerto has
a mysterious slow movement leading to a dazzling finale full of virtuosos fireworks. Performances are
first-rate from the soloists, notably the recorder player John Turner.” – Edward Greenfield (Gramophone)
“The [Hurd] Violin Sonata is lyrical all right and gets a lovely reading with good, clean sound. John
Turner gives a stunning virtuoso performance [of the works for recorder]. Delightful. Highly
recommended.” – Harold J. Diamond (The Delian)
“ Michael Hurd’s chamber music is very approachable indeed. The [Milford works are] expressive, highly
attractive. [Blackford’s] Concerto is a buoyant, uplifting experience. The recordings and performances
are excellent. Those fond of the pastoral-dance-baroque patterns in British music will enjoy this
selection.” – Jonathan Woolf (MusicWeb)
“Every work here is a charming listen, with Hurd’s Sonatina and Blackford’s Concerto being especially
worth hearing. All performers are excellent: poised, colorful and responsive to each other, with special
praise going to Richard Howarth. A fine, melodic way to spend 73 minutes. Take the plunge.” – Barnaby
Rayfield (Fanfare)
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“Three English composers who were unfashionably lyrical last century delight us now.” – Phillip
Sommerich (Classical Music)
“The [performers’] varied ensemble is typified by a pleasing, measured equanimity and innate sense of
proportion: an ideal approach in music of pastoral character. Throughout the disc there’s balm to spare;
truly a panacea for the stressed or troubled in spirit.” – Howard Smith (Music & Vision)
“The music is interesting … rather sunny 20th Century British music. [Dick Blackford’s] Recorder
Concerto is a lovely and lively piece.” – Fine (American Record Guide)
MSV 28523
David Dubery Songs and Chamber Music
“Fascinating musical journey… [Dubery] works in a traditional musical language that is approachable,
but sometimes demanding. The masterpiece in my opinion is the Cello Sonata… must surely enter the
repertoire. There is not a bar of this piece that is not interesting, enjoyable and satisfying. All in all this is
a great ‘retrospective’ CD of music by the Mancunian composer David Dubery. Let us hope that over the
coming years many other works from his catalogue find their way into the recording studio.” – John
France (MusicWeb)
“Sometimes I’m a bit slow to cotton on to the discoveries that my colleagues have made. In this case …
I’m pleased that I’ve now made it. The download sounds very well.”
DISCOVERY OF THE MONTH OCTOBER 2012” – Brian Wilson (MusicWeb)
“The disc is a delight from beginning to end. There is nothing not to like about this CD if you’re interested
in pleasing and well-crafted tonal music, full of charm and life. Performances and recording leave
nothing to be desired, and the disc is highly recommended…” – David BeBoor Canfield (Fanfare)
“This new issue on Metier devoted to songs and chamber music is just the ticket! A treasure trove of
works recorded for the first time and in good sound and some very fine performances.” – Charwood
(Amazon)
“David Dubery is firmly among … contemporary composers [who] are content to explore creatively
more conventional forms and idioms and in doing so to present players and listeners with a very different
set of challenges and rewards [than the cutting edge of modernity]… this music is indeed a treat for
listeners too.” – Andrew Mayes (Recorder Magazine)
“This is attractive and inoffensive music. Dubery writes in a lyrical and accessible vein. The
performances are all of a reasonably high standard with an impressive line-up of artists..” – Em
Marshall-Luck (Albion Magazine)
“The instrumental works are quite concise… conservative harmonically. It is very pleasant to listen to.
Though not particularly deep in its emotional pull, it has much beauty and humour. All of the performers
here are competent and seem to be enjoying themselves… [the] quite lovely songs are sung with
beautiful intonation and clear diction by Murray. I enjoyed it a great deal” – D Moore (American Record
Guide)
“I would heartily like to recommend [this disc] as a superb example of modern chamber music.
Everything is 5 star. The virtuoso playing from the eminent musicians … is breathtaking. [Dubery] should
be a household name in the classical music world!” – “Annie” (Amazon UK customer)
“This CD by David Dubery is a stunning showcase of his amazing talent as a composer. The beautiful
voice of Adrienne Murray suits the songs well and she conveys the meaning of each song wonderfully.
David Dubery is one of todays great talents and hopefully we will hear a lot more from him” -“Anne
Louise” (Amazon customer)
MSV 28524
Voix Voilées
“This [new CD] features compositions by Joshua Fineberg and Hugues Dufourt and answers the
question 'Can one still write for the piano today?' with a resounding yes.” - ‘Pliable’
(OvergrownPath.com)
“Marilyn Nonken is a persuasive advocate for spectral music ... [she] has followed her outstanding 2CD
set of Murail’s complete piano music with [this disc]. Dense, mercilessly virtuosic writing ... Nonken
handles the incremental tension superbly.” - Graham Lock (International Piano)
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MSV 28525
SET for piano
“Craven’s 12 pieces possess more than a modicum of musical interest ... I was intrigued by much of it,
and recommend it to those prepared to take a punt.”  - Robert Matthew-Walker (Musical
Opinion)
“Craven’s tonality is literal and daringly untreated; triads shocking in their nakedness. ‘Two’ and ‘Four’
flirt with Romanticism (albeit filtered via Bill Evans); other pieces are sketched over memories of
Baroque lines. But Craven’s aloof distance from his material makes these stylistic reference points fade,
refocusing attention on a renewed pool of raw gestures. He cuts across stylistic allegiances, those same
old same old allegiances that box so many composers in. Set for Piano might have been written 50 years
ago; could probably be written at any point in the future too. What’s more, I don’t want to know when it
was written. I prefer to suspend my disbelief.” - Philip Clark (Gramophone)
MSV 28526
Fox: Natural Science
“The message is clear – equal temperament is useful, and here’s some beautiful sounds created from it.”
– Philip Clark (The Wire)
“The Essential Christopher Fox recording” – Gramophone, June 2013
“This excellent disc acts as a reminder of the clarity of Fox’s voice and the depth of his language. Alfrun
Schmid is a superb vocal soloist. Her pitching is exemplary. The flighty viola part [in Natural Science] is
superbly rendered. The keyboard Sol-Fa Canon for Aldo Clementi makes for the perfect end for a
stimulating disc.” – Colin Clarke (Tempo)
“[The Sol-Fa Canon] is fun and puts a fitting end to this interesting disc. The instrumental playing is
excellent throughout…. Fascinating.” – Maria Nockin (Fanfare)
“Often very beautiful to listen to. The playing of the Trio Scordatura is excellent throughout in what must
be music peculiarly difficult to keep in tune. The recording enables one to hear every detail.” – Paul
Corfield Godfrey (MusicWeb)
MSV 28527
Thesaurus of Violinistic Fiendishness
“A very great deal more approachable than the title would suggest … the title is meant to be taken lightheartedly. We get a fair helping of modernistic techniques – glissandi, harmonics, left hand pizzicato –
but there is nothing here that Paganini would not have recognized. The composer’s wryly humorous style
of writing extends not only to his programme notes but delightfully to sections of the music itself. The
music cannot fail to enchant an audience and hold their attention. The acoustic … enables us to hear
every detail of Skærved’s superlatively skilful playing” – Paul Corfield Godfrey (MusicWeb)
“Whether it is ultra-high cantabile, stunning virtuosity or intimate reverie, Skaerved seems in his element.
Indeed … a reading of impeccable virtuosity. It is in the final movement that the violinistic fiendishness of
the title really comes in, and Skaerved rises to every challenge.” – Colin Clark (Tempo)
“The musical language of these pieces extends beyond traditional harmonic idioms, though not far
beyond violinistic ones … interesting and even fascinating. Violinist Peter Sheppard Skaerved plays with
technical acuity throughout, bringing to bear on the set his own sharp intellect and sense of
characterization (all of which the engineers serve well in clean recorded sound). – Robert Maxham
(Fanfare)
“These solo violin pieces.. bristle with harmonic and digital demands. Some of the bowing and
articulation is deliberately vicious, but violence is often balanced by reflection… when [Pellay] bases a
piece on a folk song … the results are rather lovely. These are not studies… but brief character pieces,
utilizing the vast potential of the violin to mint the instrument’s technical and expressive resources. All
praise to the recording engineers, and above all to the intrepid Sheppard Skærved who plays like a man
possessed.” – Jonathan Woolf (MusicWeb)
MSV 28528
John Ramsay String Quartets
“Sounds real, involved and borne by a living spirit..[No. 4] in particular has captured my unswerving
attention. These masterful quartets are given here their world premiere recording by the distinguished
Fitzwilliam String Quartet.” – Jean-Yves Duperron (Classical Music Sentinel)
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“A notable contribution to the British quartet repertoire… well worth getting to know. All I can do is to
recommend these discs very strongly. The performances seem excellent as is the recording quality, and
the booklet notes are splendid.”  – Alexander Leonard (Musical Opinion)
“John Ramsay is … on the basis of this CD, a highly talented composer. [The four quartets] are most
accessible and deserving of attention… they are all such as to commend themselves to the intelligent
music-lover. Strongly recommended.” - Robert Matthew-Walker (Musical Opinion)
“The playing is excellent and enthusiastic. All four of John Ramsay’s String Quartets are worthy
examples of the genre and undoubtedly deserve a place in the repertoire. They form an impressive
cycle.” – John France (MusicWeb)
“Ramsay’s quartets are fundamentally tonal, with a good deal of chromaticism along the way .. typified
by well-structured movements … they are deeply considered, individual, serious, sculptured works. Their
self-evident intellectual grounding makes their instant approachability all the more gladdening. [The
Fitzwilliams] perform John Ramsay with the same intensity and attentiveness they have previously
accorded Shostakovich.” – Byzantion (MusicWeb)
“A notable new CD release. At a time when decoding is mandatory to separate spin from substance, it is
refreshing to discover a CD release that does exactly what it says on the can. Totally committed
performances are captured in excellent sound. John Ramsay comes to us as a fully formed composer
with something important to say and the technique to say it.” – Bob Shingleton (Overgrownpath.com)
“Ramsay’s quartets reveal a deep understanding of and admiration for the genre’s giants. Ramsay shies
away from contemporary trends – his music is vastly more distinctive.” – Grant Chu Covell (La Folia)
“While the music is intellectually challenging, it’s also very approachable, making for one of the most
interesting chamber releases to appear in some time. The performances by the Fitzwilliam String
Quartet are impeccable… razor sharp precision, confidence and emotional commitment. The sound is
exceptionally clear.” – Robert E McQuiston (Classical Lost and Found)
“This is a worthwhile and substantial body of work which convinces through the quality of its
performances. John Ramsay is indeed fortunate to have the support of such a fine string quartet and
with an excellent recording this is a release which deserves respect and attention.” – Dominy Clements
(MusicWeb)
“John Ramsay is an interesting character. His music is essentially tonally based, appealing to the ear,
but not without a more acerbic side and also capable of some depth. A spirited performance by the
Fitzwilliam Quartet.” – Colin Clarke (Tempo)
MSV 28529
New Music for a New Oboe, vol. 1
“Christopher Redgate’s technical command is astonishing thoughout... well worth the attention of
listeners in any hemisphere.” – Arnold Whittall (Tempo)
“This new instrument meets the demands not only of adventurous players ... but also by the imaginative
demands of composers. [Roxburgh’s] is a carefully crafted work of sensitivity and consummate skill.
Finnissy is so superbly inventive that the hour [of Awâz-e Niyâz] passes without undue stress. A
monumental work. The research behind this remarkable CD is well rewarded by music that is
as fascinating and challenging as it is revelatory.” – Patric Standford (Dailyclassicalmusic)
“The music on this disc is challenging with the striking microtones of the Well-Tempered Oboe and the
repetitions of Awaz-e Niyaz. However, concentrated listening brings immense rewards with intriguing
and unusual sounds many of which are very beautiful. Christopher Redgate’s playing is simply
spectacular. The recording is excellent and there are informative notes on the instruments and the
musicians by Christopher Redgate, as well as individual notes on the music by Edwin Roxburgh and
Michael Finnissy.” - The Classical Reviewer
“[Finnissy’s piece] has a ritualistic, meditative quality... and then suddenly you fall into his fantasy... you
lose your place and realise how liberating that is. Edwin Roxburgh’s soberer The Well-Tempered Oboe
gives Redgate plenty of technical substance to chew on, but the Finnissy obliges him to play beyond
himself.” – Philip Clark (Gramophone)
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“Roxburgh’s Well Tempered Oboe [is] exceedingly well written. Finnissy’s 55-minute meditation [is] a
hypnotic, eventually explosive unfolding.” – Paul Driver (The Sunday Times)
“It’s always a joy to hear Redgate play anything at all, but this coupling of works by Edwin Roxburgh and
Michael Finnissy does fine justice to the Howarth-Redgate instrument.” – Roger Thomas (International
Record Review)
“Since [Edwin Roxburgh] is an oboist himself, his music is idiomatically written Both oboist Redgate and
pianist Stephen Robbings play with the highest degree of artistry. [Finnissy’s work] is a fine composition.
Oboist Christopher Redgate is a consummate virtuoso and composer-pianist Michael Finnissy plays with
great precision. The sound is excellent.” – Maria Nockin (Fanfare)
MSV 28530
Dark Formations
“Ed Hughes is a contemporary British contrapuntalist of unique originality and instrumental flair. [His
music] is all given with consummate security and audibility... I find the ensemble music irresistible.” –
Peter Grahame Woolf (Musical Pointers)
“Ed Hughes is a composer with an individual voice and a concise way of saying what he has to say. His
music is compelling. The performance [of the chamber works] is remarkably assured. [Richard Casey]
plays Hughes’ beautiful score [Orchids] with the utmost transparency. His myriad colourings are
captured in the exemplary recording. The vocal piece A Buried Flame...demonstrates remarkably fine
scoring... a powerful statement that reverberates long after the music finishes, A most stimulating
release. I do urge you to hear this.” – Colin Clarke (Fanfare)
“Throughout both of these discs, performances are as committed and attentive to the music’s frequently
understated demands as might be expected from ensembles of the calibre of the New Music Players and
New Music Vocal Ensemble. Special mention must be made of Richard Casey, who, besides writing
most of the detailed and informative booklet notes, proves no less adept and sympathetic as a pianist.
The recordings, though made over more than a decade, fully convey this music’s clarity and intricacy,
making for a release that can be warmly recommended for its persuasive overview of a composer for
whom a wider reputation ought not be long in coming.” - Richard Whitehouse (International Record
Review)
“Hughes’s music is most notable for its variability in dissonance. He is able to move seamlessly from
what sounds completely atonal to triadic harmony that allows for accessible expression. Orchids alone
makes the record worthwhile, and this two-disc set makes it easy to acquire a variety of music by a
British composer from whom we can surely expect more high quality work to come.” – Adams (American
Record Guide)
“Many of [Hughes’s] scores for reduced forces are no less striking and engaging [than his large-scale
canvases), as evidence by the various pieces in Metier’s anthology. Evident gift for polyphonic texture.
An inspiring, thoughtfully compiled programme. Ed Hughes lays down considerable challenges to
performers and they are met here with virtuosity and imagination in ideal readings, polished and alert,
which it is difficult to imagine being surpassed.. Consistently fine sound. This is a valuable survey of a
composer whose unorthodox and resourceful music deservers to be better know.” – Paul Conway
(Tempo)
MSV 28532
TIDE
“When performed together, as they are on disc one, Cageian controlled chance comes into play, with the
points of entry being left to the chance decision of the musicians, but with the shape of the three discrete
musical strands controlled by the score. If I was controller of BBC Radio 3 - one can but dream - I would
order the thirty-one minute composite version of James Weeks' Tide to be played in its entirety on the
station's Breakfast programme every day for a week as an antidote to the neurofissilty inducing dumbdownedness that currently prevails there.” - “Pliable” (Overgrownpath.com)
“Tide is a beguiling and impressively conceived and performed collection that testifies to the continuing
vitality of the experimental project.” – Stephen Graham (Tempo)
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“Heard alone, Sky is a work of transcendental calm. Burnham Air, by contrast, is a plaintive work of
curling scales and arpeggios. Tide sits in between. The gradual unfolding of these three planes in the
composite work TIDE feels almost mystical in its inevitability, the whole becoming greater than the
already substantial sum of its parts. The result is music that feels original but in some way also
primeval.” – Christian Morris (Composition Today)
“Weeks’ own music clearly resonates in empathy with the composers he likes to programme. Tide is a
composite composition – the gradually unfolding canonic energy fields of the clarinet piece anchors
everything else ... composed beginnings trigger a structural labyrinth,” – Philip Clark (The Wire)
“There’s obviously something procedural going on in this music, probably more than two or three things
at once ... The piece is composed as series of waves, of dynamic, of pitch, of rhythm, of tessitura, of
density, and so on. Waves of one sort or another overlap, producing cascading effects of beating
patterns and interferences ... for all its superficial simplicity this isn’t music that is easily summarised.
The more one listens, the more one is impressed at how much variety Weeks has built in to what began
as such simple inspiration.” – Tim Rutherford-Johnson (The Rambler)
MSV 28533
Karl Fiorini Violin Concertos
“This is a super disc of two very impressive violin concertos.... powerful and robust works full of interest
with never a dull moment. The writing for the soloist is exemplary and the orchestra is bright and
staggeringly good. The sound could not be better and the two violinists are remarkable with excellent
intonation and a virtuosity that does not get in the way of the music. The conductor is amazing as he
copes with difficult scores with apparent ease. To say more would be a list of superlatives, I cannot
recommend this CD highly enough.” – David Wright (Wrightmusic)
“One senses the arrival of an important new talent in Karl Fiorini. These two violin concertos are works
of extraordinary power and momentum. This gripping CD should mark a turning point in his career.” –
Rick Jones (Words and Music)
“Karl Fiorini is the most important Maltese composer since Charles Camilleri... a genuine composer.
Works both deserving recording and study. The performances appear excellent as are the recordings.”
XXXXX – James Palmer (Musical Opinion)
“Both [soloists] are among the best violinists in their respective countries and both play the pyrotechnics
of these demanding works with consummate grace. Both of Fiorini’s concertos are impressive, but they
differ widely. Neither is traditional, but each has the power to move the listener with a beautifully
interwoven tapestry of sound. A new and important talent on the classical music scene, he has written
challenging dissonant music that may take a few hearings to fully appreciate, but connoisseurs of new
works will want to hear his fascinating concertos.” – Maria Nockin (Fanfare)
“The two Violin Concertos are hallmark works in new music to my ears. In both cases the solo violin part
has a genuine idiosyncratic, outgoing quality that in the hands of these two virtuosi utterly convinces. The
orchestra responds to the soloist with the give-and-take dialog one would expect. Bartosz Zurakowski
conducts the Sudecka Philharmonic Orchestra in a masterful way and they come through beautifully.
Karl Fiorini gives us two excellent works that seem sure to enter the concerto repertoire. They are
majestic, thrilling, ultra-modern and exciting to hear. Molto bravo! - Grego Applegate Edwards
(Gapplegate Classical-Modern Music Review)
“With humility, eclecticism and a keen sense of harmony, Fiorini’s music retains the attention of the
listener, often taking challenging and unexpected twists and turns, but retaining cogency and coherency.
In these virtuosic pieces the two soloists have precise and apt intonation and courageous performing
styles. These concertos require power and momentum as they alternate between dissonance and tonal
progressions. The players embrace this coming together of different themes and musical ideas with
endearing sass and electrifying pyrotechnics.” - Lucy Jeffery (MusicWeb)
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“Concerto [no.1 is] very much a successor to some of the great violin concertos of the 20 century from
such figures as Bartok and Shostakovich. Fiorini’s soundworld is full of angst and mystery, quite
spellbinding with some superb playing. Both soloists are exceptionally fine and Bartosz Zurakowski
draws excellent playing from the orchestra. The recordings are first rate, Metier must be congratulated
for bringing these two terrific works to our attention.” – The Classical Reviewer
“Both pieces are gripping, but I found the second one to be especially breathtaking. It is gigantic, wild
and virile. Marta Lelek possesses the inordinate strength of a marvelous Amazon. In her hands the
instrument moves forward with a masterful drive. What masterfully-wielded power! Staggering! [Fiorini’s]
music is entrancing because it is tuned to the living, deliberately, in an overwhelmingly convincing
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manner. These are twenty-five minutes of some of the most intense music I have ever heard.” – Prof. J
Favier
“Fiorini, still very young, amazes us, first, by the extraordinary quality of his music, The Concerto for
violin and chamber orchestra [no. 1] is a small masterpiece. What is surprising is the lyricism, the
passion that this music conveys. The orchestra demonstrates a beautiful quality in tutti and reveals
excellent soloists. An extremely good CD by any standards. X X X X X - Henrique Silveira (Portuguese
Newspaper)
“Karl Fiorini’s works illustrate this aesthetic where recent artistic developments are integrated with more
traditional sources of inspiration and moulded to the composer’s own unique expression. Fiorini’s first
CD is a welcome addition to the collectors of classical and contemporary music.” – Silvio Camilleri
(Malta Times)
“Interpreted at the highest level …Fiorini’s writing is extremely lyrical and intense, very effective for
instrumental soloists, linearly and polyphonically well constructed. His greatest achievement is perhaps
to finely balance very expressive melodies with bold complex atmospheres.” X X X X X – Rui Pereira
(Ipsilon Musica, Portugal)
“Be prepared to find yourself challenged with music alternating between dissonance and tonal
progressions. Both soloists play their edgy, demanding works with pyrotechnic ease” – Howard Smith
(Daily Classical Music)
MSV 28534
Fortmann: In Dust We Trust
“Thomas Fortmann is revealed here as a skilful and intuitive chamber music composer. His language is
often old-fashioned, but his sense for timbral blending and his playfully neo-Baroque construction have a
timeless appeal. Clever, elegant and compelling, which is a good general description of Thomas
Fortmann’s work in general.” – Peter Burwasser (Fanfare)
“Fortmann has achieved a distinctly personal style. Twelve tone music rubs shoulders with cranky
ragtime rhythms.. [The Violin Sonata] is a succinct and curious but fun composition. The Four Pieces for
Two Violins ... again combine jazziness with the twelvetone process. The performance is impeccable
and captures the entire flavour. [Piano Trio Prolitheus] is a very eclectic work and quite a forceful and
emotional one. I greatly admire the energy, both musical and intellectual, that [Fortmann] has put into
[his music]; even more so the commitment and panache of the performers involved.” – Gary Higginson
(MusicWeb)
“This is fascinating. Fortmann, unlike some of his peers, seems to have entered into the arena of
contemporary classical music successfully. All credit to the performers, who exude concentration
throughout,. Padovani is a fine violinist. Fortmann’s style: poppy and full of surprises: pepper and sugar.”
- Colin Clarke (Fanfare)
“Fortmann’s strength as a composer comes out – his is certainly an unusual approach – and a
somewhat refreshing one. A certain optimism and joy shines through. It’s worth hearing.” – George
Adams (American Record Guide)
“Fortmann shares the rock musician’s fondness for a generally in-your-face rather than subtle approach
and cheeringly, an unstoppable sense of momentum. His style is wildly eclectic ... his music is an
invigorating listen and may wear well. Players all make stylish and unflagging contributions.” – Michael
Round (International Record Review)
“[Fortmann’s] chamber music is of interest regardless of whether we knew his music before or not.... a
very palpable sense of structure conjoined with an artist’s attention to emotive power. The performances
are quite fine. Thomas Fortmann has a vivid, inventive soul. Bravo and encore!” – Grego Edwards
(Gapplegate New Music Review)
MSV 28535
Tracing Lines
“[This] new disc is everywhere infused with the spirit of [the composer’s] home country. The result is a
musical surface full of capricious interest. There is never a hint of banality. Fokkens also extracts
considerable traction out of seemingly unpromising musical ideas. A highly rewarding programme of
music.” – Christian Morris (Composition Today)
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“Fokkens’s well-defined compositional voice combines native South African with broader international
musical concerns. Fokkens has been well served over the last decade by a growing number of
performers and ensembles committed to his work, not least those represented on this disc, who offer
here compelling, sympathetic accounts of his development in the field of chamber music.” - Edward
Venn (Tempo UK)
MSV 28536
Unknown Ground
“The first piece on the record, Kritik der Urteilskraft (Critique of Judgement), is a direct reference to the
work of Kant. The harmonies are certainly not tonal, but neither are they dodecaphonic. One could hardly
call this music over-written, but it is also far from a "minimalist" kind of aesthetic. It feels as though there
is a mature restraint. [A Propos de Nice] has an anti-narrative structure, fragmented and unnerving
sometimes. One must come to terms with a moment-to-moment style of listening to appreciate its
beauty. The title piece, Unknown Ground, is the high point of the album. It is a powerful work by the
English composer, played and sung with dedication.” - George Adams (American Record Guide)
“Unknown Ground has been well described as ‘one of the most passionately unequivocal works in the
Finnissy catalogue’. With the peerless Richard Jackson ... subtly inflected melodic writing ... These fine,
lucidly recorded performances have been worth the wait” – Arnold Whittall (Tempo)
“Kritik der Urteilskraft is all restraint and fabulously beautiful long textures,.Unknown Ground is a moving
setting, the emphasis always on the text Aprpos de Nice provides an often-jaunty contrast to the other
two pieces. It is not easy music to get to know, but it is worth the effort. For those unfamiliar with
[Finnissy’s] language, the disc is a good place to start.” – Christian Morris (Composition Today)
“Michael Finnissy has been served well by Divine Art. His sometimes simplistic, sometimes ultracomplex music tackles serious issues. Performances from the New Music Players under director Ed
Hughes are all any composer could desire.” – Michael Round (International Record Review)
MSV 28537
Tapestry
“Much of [Schwartz’s] music takes the form of collage in which he takes snippets of other composers’
works and weaves them into a well-made musical fabric by means of various techniques. His music may
be one way that we unify the musical past with our own time. Schwartz’s compositions are surprisingly
accessible. His textures are rich, his harmonies inventive, and every once in a while he includes a bit of
humor. [Skaerved, Shorr & Johnson] have a great rapport and play wonderfully well together. The
artistry of the British virtuoso string ensemble Longbow helps make [Water Music] a fitting finale for this
well-put-together disc. The sound is clear and pleasant. Solo instruments are always heard to good
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advantage. I recommend this compact disc for anyone interested in 20 - and 21 - century music.” –
Maria Nockin (Fanfare)
“Quotation, suggestion, and stylistic interplay assume significant roles in these works, and their
placement and manipulation take the listener down fascinating and unexpected paths. Elliott Schwartz is
a composer in possession of great craft and a deep love of the Western canon. While his employment of
quotation and stylistic references adds a rich layer of potential meaning to his works, one does not need
to share Schwartz’s connections in order to experience and enjoy his dramatic gestures and stylistic
interplay on their own terms. Tapestry presents works of great emotional weight and subtle textural
exploration worth discovering in relation to one’s own previous musical memory.” - Jason Hoogerhyde
(Symposium)
“The sensation of being transported always amazed me... I could sit, relax and enjoy being taken through
both familiar and unfamiliar places. When I listened to this album, something similar happened. Paying
homage to his colleagues with wit, vivacity and musical irreverence, Schwartz combines quotes ...
Monteverdi, Mozart, Schubert, Schumann and Gershwin appear in active interaction, knitting into a
continuous texture of cadences [in Memorial]. If you like journeys, you should listen to Tapestry. It will
take you places.: - Jorge Variego (Fanfare)
“Elliott Schwartz’s music reveals a well-stocked mind fully alert to musical and non-musical art forms
alike. Schwartz’s is certainly an individual voice.” – Michael Round (International Record Review)
“In a sense, his musical vision can be channeled into a kind of "twelve-tone orthodoxy ", from which he
ventures every so often in his works, to developing linguistic concepts and themes that cover, in original
ways, the paths of the tonal language. More than just good execution is provided by various interpreters.”
– Andrea Bedetti (CD Classico)
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MSV 28538
Rising at Dawn
“The disc opens strongly with the song cycle Chasing the Moon Down. The texts are skilfully crafted, the
images and allusions highly effective, and they have called forth music worthy of them, in tonal language
highly reminiscent of Samuel Barber at his best. This composition is a genuine masterpiece – no other
word will do. [Katarzyna Sadej has] a stunningly rich, beautiful voice. The production values are high...
all the participating artists give fine performances. Cooman is clearly not just a talented composer but a
genuinely gifted one.” – James A. Altena (Fanfare)
“The present collection of works broadens our vision of [Cooman’s] musical personality considerably. All
the works presented have genuine substance. The performances are excellent, the works memorable
and well put-together, and the sequence of works quite pleasing. This is a winner. It serves as an
admirable introduction to the composer in a chamber mode. And for the brass-a-holics out there it is
something you must not miss. Kudos!” - Grego Edwards (Gapplegate Classical Modern Music)
“Carson Cooman is a remarkably prolific composer with a deep well of creativity. Trumpeter Chris
Gekker is heard on several of the works and that’s a real plus” – Barry Kilpatrick (American Record
Guide)
MSV 28541
Grieg –Finnissy Piano Quintets
“This is fascinating and fun. The result is entirely convincing. The transformation (in the Quintettsatz) is
masterly and utterly compelling, as are performance of both works from the Kreutzer Quartet and
Roderick Chadwick. Strongly recommended.” Performance
XXXXXX Recording XXXX –
Christopher Dingle (BBC Music Magazine)
“Here is a remarkable congruence of composers. [The completion of Grieg’s Quintet] is a creative
transfiguration of academic prowess and critical insight.” – Paul Driver (Sunday Times)
“The result [of Finnissy’s completion of the Grieg] is music of ravishing beauty. [With the Quintettsatz]
the result is a fascinating and highly rewarding meeting of minds, the Grieg gradually and gracefully
giving way to Finnissy’s contemporary idiom.” – Christian Morris (Composition Today)
“This disc reveals another side of Finnissy. His Grieg-Quintettsatz is a compassionately composed love
letter in sound to Edvard Grieg written shortly after his stylistically faithful completion of the Piano
th
Quintet. The Kreutzer Quartet and Roderick Chadwick play the game, an authentic mode of 19 century
expression and refuses to acknowledge its genuine fakeness. Attention-grabbing.” – Philip Clark
(Gramophone)
“Completions of Grieg are not unique – but this one is certainly rather special. Finnissy has achieved
something of a triumph. The Kreutzer Quartet players have long been champions of Finnissy’s music. In
combination with Chadwick they are as eloquent as one could wish in the Piano Quintet completion, and
skillfully negotiate the sudden stylistic shifts and non-sequiturs of Grieg-Quintettsatz: a notable addition
to Finnissy’s discography – and Edward Grieg’s.” - Calum MacDonald (International Record Review)
“The four sections [of Finnissy’s completion of the Grieg Quintet] are seamlessly linked, The Quintettsatz
is a moving tribute to the Norwegaian master and a fascinating work in its own right. The playing from
Roderick Chadwick and the Kreutzer Quartet is of course expert, but the whole disc is an unexpected
serendipity.” – Robert Anderson (Daily Classical Music)
“[Grieg’s original] 250 bars make for a very densely romantic work ...once you get used to the premises
of the Finnissy reconstruction it is an impressive effort, rather remarkable in the way a composer of
today can transport himself into a musical world so long past. Chadwick and the Kreutzer Quintet [sic] do
a fine job with the performances. Finnissy creates music that sticks with you, creates a sort of time travel
that shows ingenuity, even brilliance. An impressive effort!” – Grego Edwards (Gapplegate
Contemporary Classical Music)
MSV 28542
Grist
“Nominally this is a “classical” album ... but it’s really an experimental album ... [Zwaanenburg] knows his
way around a flute. This a pretty out-there album. But we’ve played it a lot more that we thought we
would, way beyond what’s needed for a review, because it’s interesting. If you’re working it makes for a
nice noise that’s kind of comforting.” – Jeremy Condliffe (The Chronicle)
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“Five provocative cutting-edge works, each defining the new terrain in its own way. These are all works
that bear study and close listening. Jos Zwaanenburg has an integral role to play here and he does it
with a kind of selfless devotion to the compositional demands of the moment. He shines forth when
called for in ways we can admire and at other times he gives the impetus for the evolving shape of a
work with creativity and sensitivity. State-of-the-art live and interactive electronics are the order of the
day. Well worth hearing.” – Grego Edwards (Gapplegate Classical Modern Music)
“Zwaanenburg is an authority in the field of electronic manipulation of the flute. He therefore uses a
special instrument with open valves so he can produce micro-intervals and glissandi. But I was totally
unprepared for what we hear on this CD. Mind-boggling. The recording is of course spectacular, but
adjust to the volume..” – Aart van der Wal (Opus Classical, Netherlands
MSV 28543
A Clockwork Operetta
“A good introduction to this Manchester-based American composer’s wide range, It is allusive, socially
engaged music... sophisticated, witty and sometimes deeply moving. This enjoyable disc gives the
listener much to think about.” – Rob Keeley (Manchester Sounds)
“What a CD for movie fans! Besides new ambitious chamber music, included in the recording are five
songs written by Anthony Burgess for the Kubrick film ‘A Clockwork Orange’, masterworks of cabaret
fiercely composed by Kevin Malone, recorded here for the first time – and which are crying out for the
stage.” - Unnamed reviewer (Die Deutsche Bühne)
“A tour de force by American mezzo Emily Howard who vocalizes in extraordinary ways. Malone’s
music is surprisingly economical in its scoring.” – Rick Jones (Words and Music) Disc of the Day 13
January 2014
“A quartet of eclectic works from a talented composer who understands how to mix genres across the
musical spectrum.” – Steven Bergman (Edge on the Net)
“Painted in fairly broad strokes but certainly worth hearing” – Roger Thomas (International Record
Review)
MSV 28544
Eric Craven Piano Sonatas 7, 8 & 9
“Craven designs his music to incorporate chance, optional phrasing, improvisation and open
interpretation. While the music is experimental, this game between composer and performer gives it a
very human quality, which makes it more approachable than all this sounds. It’s tuneful enough that
people who like more conventional music will appreciate it, while its changes in time and discordance
mean that it should appeal to lovers of the more avant garde, too. We like interesting music, so it’s gone
down well.” - Jeremy Condliffe (The Chronicle)
MSV 28545
Mississippi Hornpipes etc.
“This is music for violin and piano and it’s in the experimental section of the record store. Finnissy takes
tunes, breaks them down into non-musical bits and then re-assembles them; sometimes the instruments
combine to create a pattern, sometimes they don’t. He’s approaching it with some wit though … it is
surprisingly melodic.” – Jeremy Condliffe (The Chronicle)
MSV 28547
Pandora’s Last Gift
“The sound is firmly English pastoral in sound ([the composer] lives in Suffolk and you can hear the
county's influence), while sounding modern, i.e. it's modem music written with an eye on people who like
the traditional. While it's fundamentally accessible, there's a lot of variation in tone and delivery” –
Jeremy Condliffe (The Chronicle)
MSV 28548
Observations
“David Dubery’s very fine playing is something that must be mentioned, so full of passion. James
Gilchrist [is] in fine voice … Adrienne Murray brings her full, beautiful toned voice [to her songs].
Throughout [the] fine quartet one is aware of Dubery’s fine ear for texture and sonorities. The Cavaleri
Quartet give a first rate performance with fine ensemble, sensitivity and panache. This new disc came as
a real find. Anyone with the slightest interest in English song should snap it up, coupled as it is with a
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really fine string quartet. The recordings are excellent and there are informative booklet notes from
William Ferguson and the composer.” - Bruce Reader (The Classical Reviewer)
“The musical language of [Quarteto Iberico] holds no terrors. In fact, it is 'intentionally accessible, tonal
and impressionistic.' ... [a] vibrant, well constructed, sun-drenched score. It is one of the most delightful
'modern' string quartets I have heard in a while. The performance by the singers James Gilchrist and
Adrienne Murray are superb. The composer is a remarkably sympathetic pianist and the flautist Michael
Cox brings a magic to the two song cycles that include an obbligato. David Dubery writes music that is in
the trajectory of all that is best in English song - Ireland, Britten and Finzi. Yet there is an individual
element that ensures that his music is never parody or pastiche.” - John France (MusicWeb)
MSV 77201 (2CD)
Mixed Doubles
“[Crosse’s ] Viola Concerto, an immensely likeable 22-minute offering of striking substance... reveal a
discerning and imaginative voice. [Manduell’s] Flutes Concerto proves a notable discovery.. just as
impressive is the Double Concerto. Enterprising release ... well worth hunting down.” – Andrew
Achenbach (Gramophone)
“A fine recording from Metier of works by Gordon Crosse and John Manduell, giving further proof of the
number of fine composers Britain has… some glorious music with distinctive textures and colours. The
Manchester Sinfonia under Timothy Reynish gives wonderful performances throughout and the
recordings made at St Thomas’ Church, Stockport, England are excellent.” – The Classical Reviewer
“This is a very rewarding pair of discs featuring music that, whilst certainly contemporary in nature, is
immediately accessible and of genuine appeal - another significant release from Metier.” - Andrew
Mayes (Recorder Magazine)
“The [Crosse] Viola Concerto is impressive and significant... I believe that this is one of the most
important viola concertos in the catalogue. If I was seriously impressed by the [Manduell] Flutes
Concerto, then the Double Concerto ‘took my breath away’. Manduell has created a diaphanous soundworld that is strikingly beautiful as well as being musically interesting. The performance of all five pieces
on this CD is splendid. These are demanding works that are not in the standard repertoire, yet the
soloists and the Manchester Sinfonia make them sound second nature. The CD sound quality is ideal
and reflects the typically intimate nature of these works.” – John France (MusicWeb)
“These recordings were made in the presence of the composers so there is the implication of
authenticity to add to the evidence of what we hear. Crosse plays tribute to recorder player par
excellence John Turner. [His works] sing to the ear. The Manchester Sinfonia manage some fairly
testing string writing in great style. The Manduell disc offers up two beefy works. A substantial collection
of concertante works ... much to stimulate among this temperate, argumentative and atmospheric
music.” – Rob Barnett (Musicweb)
“This is an outstanding CD... the recording is wonderfully well balanced between the soloists and the
Manchester Sinfonia. It is exciting to hear such vibrancy and clarity in every track, and the pieces by Sir
John Manduell and Gordon Crosse complement each other brilliantly. Throughout the disc, [the] quality
of musicality both in performance and composition is exquisitely balanced. [In Manduell’s Flutes
Concerto] Michael Cox handles every musical and artistic demand with complete command.” – Lisa
Nelsen (Pan – The Flute Magazine)
“The three works [by Crosse] are thoughtful and expertly crafted. Michael Cox expertly negotiates the
flourishes, harmonics, pitch bends and what not [in Manduell’s Flutes Concerto] ... in the Double
Concerto Richard Simpson and Alison Teale do the westernized solo parts proud.” – Michael Round
“I’ve been blown away by the poetry in [Crosse’s] Brief Encounter. The Concerto for viola and strings is a
feast for the ears. Manduell gets fascinating sounds from the whole ensemble. The musicians play very
well and the sound is good.” – Stephen Estep (American Record Guide)
“The Crosse works are in the best English pastoral tradition and yet speak with a fresh, vital and totally
individual voice. The Manduell works are in many ways no less lyrical than the Crosse; one of the most
striking features of the two works on this CD is the ear for orchestral colour ... immediately striking
effects that grab the ear. The performances throughout are uniformly excellent. We should be grateful to
Metier for bringing these unjustly neglected works to our attention.” – Douglas Jarman (RNCM News)
“[The Crosse Viola Concerto] ... a short but potent work. The whole work is magically scored. John
Manduell’s Flutes Concerto...is a masterly example of Manduell’s style. This seems to me to be an
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important work, original in concept and execution. Manduell’s exciting Double Concerto ...is the most
exuberant of the works on this disc, lively in rhythm and strong in melody. It shows Manduell’s lighter
side and certainly should appeal to small ensembles.” – Michael Kennedy (Manchester Sounds)
“[The Crosse pieces] combine lyricism with an individual voice and successfully manage to avoid
pastiche. [The works by Manduell] are also individual, interesting and confidently composer works. All
works are performed with flair and conviction.” – Em Marshall-Luck (Spirited)
MSV 77202 (2CD)
Anthony Burgess – The Man and his Music
“It is with Burgess’s musical activities that this CD is concerned. His musical achievements are
considerable. Each CD contains two compositions by Burgess as well as a wide-ranging selection of
pieces by contemporary composers. {lists works with much praise in detail}. This is a major success.
From the playing of both the soloists that is perfect, through the liner-notes, the design of the CD and the
selection of the programme, I am totally impressed.” – John France (MusicWeb)
“Sometimes downright funny, [the recorder] can also move us with unexpected pathos. The performance
standard here is remarkably high. Judicious balancing on the side of the recording team means the
recorder line comes through perfectly at all times. A stimulating release.” - Colin Clarke (Fanfare)
“Turner and Davies hold the listener’s attention through it all, giving thoroughly committed performances.
This recording might make an enlightening gift for an avid reader or fan of the notorious Kubrick film.” –
Todd Gorman (American Record Guide)
“[Burgess wears] a pretty impressive composer’s hat in addition to his literary one...as a programme [the
set] makes for an intriguing byway.” – Roger Thomas (International Record Review)
MSV 77203 (CD+DVD)
When the Flame Dies
“Beware: this opera may take you hostage with its ability to get under your skin. As with any good opera,
this one convincingly creates its own logic. Roger Morris’s libretto gains much of its entrancing quality
through the leeway of ambiguity. The 12-member ensemble reveals much effective compositional
strategy ... and just plain alchemy. The question is not if you like it but if you can tear yourself away from
it.” – David Patrick Stearns (Gramophone)
“An intriguing Cocteau-esque opera that resists reaching for easy harmonic comforts... there is no
gainsaying the vocal skills of the persuasive soloists, notably the mezzo-soprano Lucy Williams, who
characterises her role with conviction.” – Barry Forshaw (Classical CD Choice / North London Press)
“This is a different kind of operatic proposition. Concise, it nevertheless manages to pack considerable
punch. Hughes’s music fizzes with invention ... there is a Stravinskian sparkle to the writing. The
performance is very well realised, well cast, performed with commitment, and accurately recorded.” –
Leo Chadburn (Tempo)
“Lucy Williams, haughty and beautiful, expressing much through her exquisite singing... an absorbing
piece and an exciting introduction to Ed Hughes’ music.” – Rick Jones (Music Blog)
“The device with video and light projections is the best possible approach to this beautiful piece. Brilliant,
energetic music, whose most immediately noticeable quality is its clarity... the language is open and
attractive, very harmonically inventive. Five young singers, all excellent ... an instrumental ensemble very
precise and directed with great attention and we have here all the ingredients for a production of high
standing.” – Pierre Rigaudière (L’avant-scène Opéra)
“Morris’s libretto is extensive and often intricate in content, thereby placing a premium on the composer’s
ability to convey dramatic meaning at the same time as sustaining a convincing theatrical continuity.
This Hughes achieves admirably, whether in terms of maintaining a satisfactory balance between voices
and instruments or of enriching the vocal lines with writing which sustains an intrinsic musical interest.
The cast here is a persuasive one – dominated by Edward Grint’s emotive and increasingly selfregarding Poet, and the sensuous yet calculating appeal of Lucy Williams’s Princess. Hopefully
Hughes’s piece will soon secure a full staging: in the meantime, this release enables one to get to grips
with one of the more arresting and distinctive chamber operas to have emerged in the UK over recent
years.” - Richard Whitehouse (International Record Review)
“Edward Grint as the Poet and Lucy Williams as the Princess bring a sense of dramatic engagement to
their conversational lines... the looks that Grint flashes between the two competing demands on his
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attention are quite gripping. In fact the video [of the concert performance] adds a whole new dimension
to the work...engages not only the listener’s intellect but sympathy and compassion as well. Carlos del
Cueto gets superlatively assured playing from the small chamber orchestra. It would be hard to imagine
the performance being bettered. The recording is well balanced. I certainly didn’t have any objection to
sitting through the work twice, once on CD and once n DVD. That is surely a sign of a piece that has real
depth.” – Paul Corfield Godfrey (MusicWeb)
“It is the exciting orchestral treatment which wins through in this short chamber opera, with the
shimmering timbres of the twelve instrumentalists of New Music Players, often bolstered by electronics.
Edward Grint, recently seen at the Musée d’Orsay in Gilbert and Sullivan’s Patience, proves very
comfortable in the main role, while Lucy Williams [as Princess Death] leads the game with authority.
Andrew Radley, as Raymond Radiquet, gives a good performance and is rewarded with a long soliloquy
near the end of the work.” - Laurent Bury (Forum Opera)
MSV 77204 (2CD)
Electrifying Oboe
“A Tour de Force, while at the same time functioning as a self-contained, portable festival... an
impressive selection of works with various collaborators [results in] wide-ranging excellence.” – Roger
Thomas (International Record Review]
“Music’s most forward-looking, technically mind-blowing oboist. Anyone who’s ever heard Redgate’s
playing knows how unbelievable it is, & throughout Electrifying Oboe he demonstrates again & again why
he’s the most celebrated oboist of our age.” – Simon Cummings (5 against 4)
“Just about every kind of extended technique is explored, the wacky accompaniments adding to the
novelty. The result, however, is highly engaging.” – Christian Morris (Composition Today)
MSV 77501 (5CD)
The History of Photography in Sound
“Don’t look here for the banalities of programme music. This is a rare musical proposition which surely
deserves to stand as one of the great pianistic statements of this or any age.” – Roger Thomas
“Endlessly fascinating, engaging, challenging, puzzling, beautiful, thought-provoking and charming.
Pace’s intimate acquaintance with the totality of History is apparent in his commanding performance ...
this is a magnificent achievement for both composer and performer.” – Christopher Dingle (BBC Music
Magazine)
“Superb five-CD set of Finnissy’s colossal piano work... a major achievement and one that should
appeal strongly to lovers of contemporary and piano music alike. It should be obvious that students or
admirers of Finnissy in particular, and those interested in contemporary music in general, will want to get
this full cycle … and it’s reasonably-priced. It's hard to see how a more suitable and sympathetic
performer could be involved. The acoustic is sympathetic and neither adds nor takes away anything from
our necessary concentration on the music. This is a major release of a major project and one which
should be investigated by as wide an audience as possible. Execution and presentation are as excellent
as the music is compelling. “ - Mark Sealey (MusicWeb)
“The music of English composer Michael Finnissy is difficult to categorize. It is exceptionally multifaceted
in both its surface and substance... The composer has given Pace's performances and this recording his
enthusiastic recommendation, so it is to be assumed that the performance is definitive.... Pace brings to
the project a true mastery of the composer's interpretative challenges. The History stands as a major
work of a major composer. For those who wish to take an unforgettable journey, this is a work, like much
great art, that embraces everything and, in the process, tells us something about ourselves.” - Carson
Cooman (Fanfare)
“Superb interpretation ... admirably comprehensive sleeve notes ... persuasive advocacy of Michael
Finnissy’s pioneering but always human music.” – “Pliable” (Overgrown Path.com)
“Both composer and executant here are truly prodigious figures. A vast compendium of virtuoso-pianistic
and world-historical thought. It is hardly possible to comment significantly on such a phenomenon in a
capsule review, but I heartily recommend this profoundly dedicated undertaking.” - Paul Driver (The
Sunday Times)
“Interpreted by Pace with superb dedication, Finnissy's musical montage mixes autobiography with
philosophical reflection and critique, quotation, sharp observation and personal conviction. Commenting
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self-reflexively upon the language of the piano, this intricately allusive music issues a committed
challenge to our own responsiveness and literacy.” - Andy Hamilton (The Wire)
“Clocking in at well over three hundred minutes in duration, Michael Finnissy’s eleven-movement cycle
for solo piano is a gargantuan effort for both composer and performer. One cannot imagine a more
heartfelt or technically skilful performance of this work. Finnissy’s musical language revels in a complex
interplay of far flung reference points, ample virtuosity, and a penchant for pungent, dense harmonies
and a coruscating rhythmic grid. If there is a through line to be found in the History of Photography in
Sound, it is [Finnissy’s] spirit of generosity bestowing upon us all the many musical ideas Finnissy has to
offer: and that’s quite a lot. Revel, wallow even, in the embarrassment of riches and abundant virtuosity
on display here. This is a boxed set that is wholeheartedly recommended.” – Christian B. Carey
(Sequenza 21)
“Photography as a retrospective score of our lives; but scores are open to interpretation. Finnissy keeps
his cultural aperture forever wide-angled, ideas and sounds papped ferociously. Believe me, if you could
see the score you’d grasp the scope of the enterprise. Ian Pace is Finnissy’s David Bailey, each note
shaded to perfection, structures translucently and sharply lit, defining sonic images of our time.” – Philip
Clark (Gramophone)
“Music is just notes – intent and understanding are transient... A photograph purports to be a fixed
moment in time whereas … performed music spans time. Upon reflection, one realizes how strange it is
that we routinely accept something written days, months or years ago as timely. In other words, attend to
Finnissy’s gigantic opus with an open mind. Pace’s insight and devotion serve to make the work as much
his as Finnissy’s.” – Grant Chu Covell (La Folia)
“Occupying a single disc, Kapitalistisch Realisme would be an incredible statement in its own right, let
alone just one part of an entire cycle. With excellent sound and Ian Pace’s remarkable playing, this work
is something which demands our attention and admiration.” – Dominy Clements (MusicWeb)
MSV 92002
British Organ Music
“Cleverly conceived release...a beautifully prepared program” – Carson Cooman (Fanfare)
MSV 92003
Howells Chamber Music
“It’s all wonderfully handled… individual players eloquently cut through the textures just as the score
requires. An air of warm pastoral spirituality lovingly conveyed” – Rob Barnett (MusicWeb)
“Collins, West and the Lyric Quartet give thoroughly professional and profoundly moving performances
that simmer with romantic angst, succumb completely to moments of intense contemplation, and have
lively rhythmic episodes and the occasional tangy dissonance. The Quartet is a superb team and West
has unrivalled touch and color. Collins achieves a British timbre that is unusually rich and clear... making
the closing measures of the Clarinet Quintet poignant and unforgettable.” – Hanudel (American Record
Guide)
MSV 92005
Mathias String Quartets
“Masterful and intense performances recorded in vividly immediate sound… could hardly make a more
powerful impression. The Medea Quartet… both brilliant technically and deeply expressive. The Metier
sound is first rate too with superb presence and atmosphere” – Edward Greenfield (Gramophone)
“Music that quickly grabs its audience, offers both old-fashioned and newer-sounding pleasures, and
repays repeated listening with subtleties of harmony, architecture and feeling. The Medea Quartet plays
very well, with spirit and sensitivity.” – Lehman (American Record Guide)
“Interesting that all three of these serious works have an Eastern European leaning amid a rooted
tonality spiced with dissonance.” - Rob Barnett (Musicweb)
MSV 92008
British Piano Music, vol. 2
“First class…I should not underestimate Steven Neugarten. An admirable visiting card for a young
pianist of real interpretative gifts” – Michael Oliver (Gramophone)
MSV 92009
British Piano Music vol. 3
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“First class… an admirable visiting card for a young pianist of real interpretative gifts… a distinguished
debut recording” – Michael Oliver (Gramophone)
MSV 92010
Finnissy: Folklore
“ a programme of subtle and absorbing sounds. Michael Finnissy's piano style…[transforms] folkish
melodies into evocative vistas of colour.” - David Breckbill (BBC Music Magazine)
“This is a sublime and vigorously enthralling disc of folk-inspired works from one of the most important
living composers… the beauty of the playing and the music are never in doubt.” - Christopher Dingle
(BBC Music Magazine) CRITICS’ CHOICE 1998
“This is the first of several Finnissy discs planned by Metier and a fair taster of his sound-world and
aesthetic outlook.” – Paul Driver (The Sunday Times)
“[Folklore II] is elusive music, and the other folk-based pieces are useful primers for the greater
sophistication and subtlety of the larger works.” - Andrew Clements (The Guardian)
“Often euphonious music - an ideal introduction to one of Britain's most important avant-gardists.” - Andy
Hamilton (Classic CD)
MSV 92011
Finnissy: Music for String Quartet
“This is rather special. If variety is the spice of life, then this disc is hot. And so are the Kreutzer Quartet,
whose commitment and spirit make this demanding music sound clear, fluent and gritty. A must for
anyone interested in new music, or in the evolution of the string quartet as a genre.” - Fabrice Fitch
(Gramophone) Gramophone “Critics’ Choice” CD for 1998
“The Essential Michael Finnissy recording” – Gramophone, December 2013
“…a bracing experience. This is a rough-hewn and extremely sturdy music, profoundly honest about
what it is and what it's doing. 'String Quartet' may be the most unrelaxing piece of music I've heard of
late. And that, though it sounds like nothing of the sort, is a compliment!” - Brian Marley (Avant)
“Finnissy is stretching his players - irrational timings and unexpected intervals - so there's none of the
pop condescension of boom boom Minimalism. Finnissy hollows out the romantic legacy from the
inside, spinning lines so tense they sound as if they are traced on a bomb ready to explode. Perhaps the
febrile beauty admired by Finnissy's devotees is not so much the pinnacle of art as the ring of truth.” Ben Watson (The Wire)
MSV 92012
Roberto Gerhard chamber music
“The Cantamen ensemble play the [Trio] with tenderness and sympathy. This performance [of Gemini]
has real fire and conviction. Caroline Balding fulfils {Chaconne’s] virtuosic demands with distinction.” –
Lionel Salter (Gramophone)
MSV 92013
British Music for Clarinet and Piano
“The performances are superlative in every way and should place this duo firmly in the front rank of
contemporary music interpreters. In much of the music of this period, the formidable technical and
intellectual demands placed on players can often produce sterile and cerebral results, yet here the clear
understanding of form and structure is combined with genuine passion for the medium. Kate Romano's
playing throughout is exemplary, displaying both stunning technical prowess and a real flair for the
dramatic potential of these works. “ Performance  Sound  - Tim Payne (BBC Music
Magazine)
“Not just a collection of clarinet works, but a well-devised retrospective of British music over three
decades. Romano is an accomplished and sympathetic advocate, not least in her informative booklet
notes.” - Richard Whitehouse (Gramophone)
MSV 92014
Music by Harper and Cresswell
“variety is one thing [this CD] can't be accused of lacking. Harper's Byrd transcriptions for brass form an
appropriate, and well-played, backdrop to his own Byrd derived Fantasia III, an efficient piece of work.
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[Cresswell’s vocal works are] finely performed by Jane Manning in recordings which make admirable
use of church resonance” - Arnold Whittall (Gramophone)
MSV 92015
Fanny Robin
“In the still undervalued genre of chamber opera, Fanny Robin deserves more frequent performances.
Scottish Opera's production is captured to telling spatial effect.” - Richard Whitehouse (Gramophone)
MSV 92016
Sackman & Nicholson String Quartets
“[The Sackman piece] is a genuine string quartet and, therefore, a rarity. A truly memorable work. One
hesitates to say it but it is almost a perfect work. Nicholson's quartet is the more profound in statement
whereas the Sackman is more immediate. But both quartets are works of a rare and distinctive quality
and the Bochmann Quartet's performances are convincing. I would not want to be without this disc.” David Wright (MusicWeb)
“These are quartets of substance from two British composers... Dedicated playing from the Bochmann
Quartet, with suitably close, focused sound.” - Richard Whitehouse (Gramophone)
“The Bochmann Quartet… prove inspired and dedicated performers in these substantial additions to the
British string quartet canon.” - Hubert Culot (MusicWeb)
MSV 92017
The Japan Project
“The trombonist Barrie Webb, who instigated this collaboration with seven Japanese composers,
deserves congratulation. Each piece…is uniquely satisfying in its own way.”  - Stephen Pettitt
(The Sunday Times)
“this music is well worth getting to know, not least for Barry Webb's unstinting commitment to the project
and the consistency of his playing.” – Musical Opinion
MSV 92018
Plot in Fiction – Italian chamber music
“I’ve been soaking up new releases of 20th-century Italian music, wonderful discoveries among them. It
is good to know that a rewarding program of contemporary Italian music can be made without relying
upon Donatoni and Berio. We should hear more of the Firebird Ensemble.” – Grant Chu Covell (LaFolia)
“This is a well-planned programme, covering several generations of composers, as well as different
styles… attractive and fascinating items.” - Denby Richards (Musical Opinion)
“This is a disc very much in the true Metier mould of challenging and probing our musical senses. It is
however a disc that offers undoubted rewards upon repeated listening for those who allow themselves to
become immersed in the "plot". The performances by Firebird are accomplished and it is to be hoped
that we hear more from them in recordings to come.” – MusicWeb
MSV 92019
Venus in Landscape
“On this interesting disc we have four works for tape each lasting about sixteen minutes and they should
be listened to as any other music. we have a splendid range of features of classical music: we have a
'toccata', a splendid 'adagio' with some beautiful music; we have frenetic excitement and remarkable
effects. I recommend this disc to introduce people to music for tape. I am sure that the majority will find
much to enjoy. The recording is excellent.” - David Wright (MusicWeb)
MSV 92022
More Light
“This disc is a good introduction to the work of a composer (b 1955) who is both an interesting
conceptualist and a craftsman well able to realise his ideas in an aurally satisfying way. Pace plays with
clarity and fervour throughout.” - Paul Driver (The Sunday Times) “10 RECORDS FOR CHRISTMAS
1998”
“This is music where the apparently bland exterior discloses a wealth of invention on repeated listening.
Pianist Ian Pace's performances are exceptional and insightful.” -  - Andy Hamilton (Classic
CD)
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“Christopher Fox merges often complex technical procedures into sensuous streams of sound that
beguile as well as fascinate the ear.” – Gramophone
“Ian Pace plays this powerful but almost unfathomable music with great sensitivity. The sleeve notes by
Pace and Fox could hardly be better, and I'm bound to say I'm looking forward to the companion volume
that Metier has promised.” - Avant
MSV 92023
Finnissy: Seven Sacred Motets
“An intriguing facet to the work of this important contemporary composer. Another enterprising release in
Metier's Finnissy series, featuring impressive singing by Voces Sacrae.” - Andy Hamilton (Classic CD)
“[Finnissy’s] motets have an apparent simplicity, a devotional serenity, an authenticity in their use of
plainchant that make them hard to distinguish from works written centuries ago. Fans of Tavener and
Gorecki should find enjoyment here.” - Paul Driver (The Sunday Times)
“Idiomatically conceived, these motets traverse a variety of liturgical techniques with a concentration and
lucidity that compel admiration.” – Richard Whitehouse (Gramophone)
“This Metier recording offers a crystal clear production. The voices penetrate the ear with an ambience
and clarity that easily transforms the listener from the present to a Renaissance Burgundian court.
Undoubtedly great value for money at a mid-price range.” – Classical Source
MSV 92024
Premonitions
“This is a fascinating CD of contemporary music by a composer at the cutting edge of his art. Here is
music of penetrating intellectual achievement from a mind capable of using music to realise complex
musical concepts with crystalline three-dimensional clarity. Wonderful value and I highly recommend it.”
- Leslie Sheills (Pan Magazine)
“You get the firm impression of a composer with an acute sensitivity to intervals and timbres, and the
imagination – not just the skills – to transform his materials into compelling musical forms. There’s a
strong roster of players here.”
Performance  Sound  - Keith Potter (BBC Music
Magazine)
MSV 92025
Peripheral Visions
”CDs like this do not gain massive publicity or renown, yet they do a great service to both singer and
song - and therefore music as an art. This CD could well grace many private record collections and
brings together 25 imaginative songs.” – Music and Vision
“Alison Smart… shows that she has a fine range of expressiveness. She is ably supported by Katharine
Durran. Metier's sound is admirably clear. - Guy Rickards (Tempo)
“The impressive soprano Alison Smart, of the BBC Singers, makes her recorded debut as a recitalist,
accompanied by Katharine Durran (whose complete Bach Toccatas is available on MSV CD2001). They
offer an interesting selection of songs, often with a folkish flavour.” – Paul Driver (The Sunday Times)
MSV 92026
Catalan String Quartets
“Were it not for fiercely dedicated independents such as David Lefeber's Metier label, music lovers with
a taste for adventure would be far less served. This Catalan string quartet disc is a remarkable release.
The recording itself… is about as good as they get. This is exemplary string sound and the ambient
space is exactly right. The Kreutzer Quartet plays with precision, heart, and soul… marvelous stuff.” Mike Silverton (LaFolia)
“All this music is wonderfully played and recorded in a Loughton church with ideal acoustics for the
purpose; the Kreutzers leave you in no doubt of their commitment and conviction. Taken one at a time, I
enjoyed them all” – Peter Grahame Woolf (Musical Pointers)
MSV 92027
Finnissy: Verdi Transcriptions
“An entirely creative use of virtuosity… together with it goes an acute understanding and enjoyment of all
the things that sheer virtuosity can draw from the piano. Throughout, Ian Pace's technique astounds.” –
Michael Oliver (International Record Review)
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“Absolute technical control, a quality fully realised in the magnificently truthful recording. This must be
one of the most ambitious recording projects of our time, and it deserves the widest encouragement and
support.” - Arnold Whittall (Gramophone, 2002)
“Fine set… Pace’s imposing pianism and extraordinary devotion to the cause… one of the finest around.
Music that’s heartfelt and approachable yet densely ambiguous.” – Philip Clark (Gramophone, 2008)
“Once again Metier is doing Michael Finnissy proud. The result is something thoroughly new, and
entirely compelling, especially when given the ardent advocacy of Ian Pace, whose ability to combine
thoughtfulness with extreme virtuosity can be heard nowhere better than here. Recommended.”
 - Christopher Dingle (BBC Music Magazine)
“Pace's pianistic achievement… is quite remarkable.” - Philip Clark (The Wire)
MSV 92028
Etude Philharmonique
“Few current violinists can claim as wide a repertoire and as active a policy of commissioning as
Sheppard Skærved, and the present disc offers an excellent and often surprising overview of his solo
repertoire. A varied and stimulating collection then, recorded with due appreciation of Sheppard
Skærved's incisive clarity - a trait equally apparent in his informative booklet note.” – Graham Simpson
“Skærved has more than risen to the challenge, and no inadequacies are exposed by his recording of
Etude Philharmonique and other works by Henze, Naji Hakim, David Matthews, and Dmitri Smirnov. He
demonstrates that, in the right hands, the solo violin can evoke a remarkable range of moods and
colors.” - Andrew Palmer (Strings Magazine)
MSV 92029
Star Preludes
Gramophone Award Nominee
“Fine performances of some of Rawsthorne's finest yet most neglected chamber music. Alan
Rawsthorne's Theme and Variations for two violins not only ranks as one of his masterpieces, but can
also be considered as amongst the finest string writing for violin duo this century… this new and
exceptionally fine account by Peter Sheppard Skærved and Christine Sohn [is] all the more welcome.
Another Rawsthorne work that deserves much wider recognition is the Violin Sonata of 1958. A must for
all admirers of Rawsthorne's music.” – Michael Stewart (Gramophone)
“playing of passionate intensity in the finest performance of the [Theme and Variations] that I've yet
heard” - Tempo
“In sum, with fine performances and a good recording, this release deserves to be heard by more than
just devotees of the violin. It shows the toughness and sheer musicality of two fine British composers
writing at full stretch.” - Piers Burton-Page (International Record Review)
MSV 92030
Finnissy: Gershwin Arrangements
“This disc deserves a place on the shelves of every serious collector. These two cycles of Gershwin
arrangements contain some of Finnissy's best and most thought-provoking music played by one of his
greatest advocates. The emotions in Finnissy's arrangements are often as complex as the music is
intricate, at one moment poignant, disturbing at the next, but always utterly compelling. Strongly
recommended.” – BBC Music Magazine TOP RECOMMENDATIONS August 2000
“The exercise is not only valid but musically stimulating. Pace is clearly so conversant with this music as
to be a constituent part of it, while the deliberately dated piano sound and recording style is perfectly
suited to this strange yet compelling music. This disc is unique and remarkable.” - Roger Thomas
“As an arranger Finnissy is radical - as we should know from his own music. So the stage is set on this
CD for something special. Everything is beautifully played too.” - Music and Vision
”Ian Pace proves to be a heroic interpreter of Finnissy's Gershwin transcriptions - a tough, sometimes
baffling listen, but an extraordinary achievement.” – The Wire
“These versions are useful concert items at the very least. But they have other dimensions, musical and
sociological, as Pace's booklet essay explains. Using a Fazioli piano to re-create an "old-fashioned"
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sound, he plays them thoughtfully and beautifully.” - Paul Driver (The Sunday Times)
“By turns virtuosic and contemplative, they are given an incandescent performance by Ian Pace. The
song tunes drift hazily in and out of the music. Layers of melody, voluptuous harmony, and intellectually
challenging counterpoint entrap the listener into a wholly original and exciting sound world, nevertheless
remarkably approachable for a late 20th century composition. The piano recording is delectable. This
wonderful disc has already become a firm favourite in my catalogue. Finnissy is a national treasure; let’s
have lots more, please.” - Dr Brian Hardin (Classical London)
“It's impossible to do justice to the range of this remarkable music in a short review. Ian Pace has
forthright views on these pieces and is an ideally characterful interpreter.” – Classic CD
”Michael Finnissy has restored the art of the piano transcription, and his versions of Gershwin standards
have become the most frequently performed of all his voluminous piano output. Ian Pace's playing is
faithful and technically exemplary” - The Guardian
“Fascinating, and certainly among Finnissy's most individual and enduring creations.” – Records
International
MSV 92031
Fox: “You, Us, Me”
“Ian Pace is convincing in all idioms here, while Amanda Crawley conveys the nonsense most
entertainingly... a thoroughly entertaining presentation of the work of this quirky and inventive British
composer.” - Andy Hamilton (Classic CD)
MSV 92032
Roberto Gerhard String Quartets
“Metier are again to be commended for their exploration of neglected repertoire... Powerful
performances of astonishingly neglected quartets.” Performance  Sound  Andy Hamilton (Classic CD)
“It will be difficult to beat, with first-class playing and admirable recording, and at mid-price the short
playing time should not be an issue. Very strongly recommended.” - Arnold Whittal (Gramophone)
MSV 92035
Even Such is Time – British Choral Music
“The nine voices of Voces Sacrae display consummate musicianship, sensitivity and technical control.
The result is a disc of real pleasure both in the quality of the singing and the programme which, perhaps
surprisingly for such a small group, suits Voces Sacrae to a tee. David Lefeber's sympathetic recording
further enhances what is already a wonderful sound.” – Marc Rochester (Gramophone)
MSV 92036
Animal Heaven
“All of these works are given strong, highly committed performances by John Turner and his ensemble,
with Alison Wells being worthy of particular praise for her confident vocal delivery. The recording is well
focused and natural. I very much hope that Metier and the same artists have more in store for us in the
future.” - Christopher Thomas (MusicWeb)
“Animal Heaven puts together a rather neat collection of fresh-textured works” – The Scotsman
MSV 92037
Charles Ives Piano Music
“The performances are superb - and so is the recording” - Paul Driver (Sunday Times)
“Philip Mead re-energised ideas about the Concord Sonata with an off-the-leash recording that leaves
the thrills multiplying. Philip Mead’s performance is loud, rude and jammed with idiosyncratic corners.
Charles Ives would have been hugely appreciative and admiring.” - Philip Clark (Gramophone)
VOTED GRAMOPHONE’S TOP CHOICE RECORDING OF THE CONCORD SONATA (2012)
“Perhaps providing the finest interpretation of the two piano sonatas on disc… Philip Mead is in his
element, dexterously flying through those glittering dissonances and freely enjoying Ives's unstilted
ragtime motifs.” CLASSICAL CD OF THE WEEK - Tarik O'Regan (The Observer)
“[Mead’s] interpretations of the Sonatas can be ranked with the best, showing that he has a strong
affinity with lves' music. They are also very well recorded.” – Musical Opinion
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" This is a most desirable disc… these two discs contain just about all of Ives's best-known and most
significant works for piano. ... Mead would be hard to beat." – Christopher Dingle (BBC Music Magazine)
“Mead has no problems with the formidable technical difficulties many of these pieces present; the
massive accumulations of notes, the cross rhythms and lightning switches of mood” – Andrew Clements
(The Guardian)
MSV 92038
Fast Colours
“Not surprisingly perhaps for a former pupil of the legendary Nadia Boulanger, there is a consistency that
runs through the heart of all of these works: namely a concern with both the vertical and horizontal
aspects of the music, whereby the importance of melody, harmony and contrapuntal line combine to play
a crucial part in the structural cohesion of the finished score. Manchester based Psappha give highly
committed performances of all five works… this premiere Powers recording is long overdue but better
late than never!” - Christopher Thomas (MusicWeb)
“Powers is a renowned craftsman who operates in 'enriched tonality' and is a determined contrapuntist,
as befits a Nadia Boulanger pupil. Well recorded in Cheshire, this first CD devoted entirely to his music
is a release which will give a great deal of pleasure.” – Peter Grahame Woolf (MusicWeb)
MSV 92040
Invisible Cities
“With formidably well-realised performances from the members of Topologies, and sound which finds
clarity and impact in a variety of recording locations, this is an important disc, helping to ensure that
Alwynne Pritchard's music can be heard and well discussed.” - Richard Whitehouse (Gramophone)
“These pieces are very different from each other… [Pritchard’s] prevailing mood and sound vocabulary is
astringent, never music to 'wallow' in for old-style sensual satisfaction. The performances, recorded in
vivid sound, presumably in association with the composer, are persuasive and this is an intriguing
release.” - Peter Grahame Woolf (ClassicalNet)
“Now that we're in the new millennium, Pritchard is questioning everything about her own musical
assumptions and here are some of the answers, brilliantly performed by members of [Ian] Pace's
Topologies ensemble”. – Philip Clark (The Wire)
MSV 92042
Wind-Up
“An enterprising introduction to two young composers, each with something to say and the means to say
it with interest and imagination. Thank heavens for small independent labels. There is a wealth of worthy
composers whose music deserves wider recognition and accessibility and Metier has contributed to the
cause immensely with the release of this recording. Good sound and exemplary performances
throughout. An excellent disc well worth exploring.” - Michael Stewart (Gramophone) (Critics’ Choice
2001)
“Performances throughout are excellent.” - Ivan Moody (International Record Review)
“The courage of some smaller label record companies has my admiration for their readiness to support
truly modern music. This is the style of record crucial to aid composers in the uphill struggle.” – Music
and Vision
MSV 92043
Occasional Music
“The Composers Ensemble perform well throughout and the recording is clear and well produced. The
whole CD is a pleasure to listen to, and the compositions must also be a pleasure for the performers to
play… this recording is a refreshing change. Jane Wells deserves a large audience for her music and for
this CD.” - Stephanie Cant (Women in Music Today)
MSV 92044
Emsley: Flowforms
“Pace's performances make a powerful case for these works. Two fine ensemble works complete the
disc.” – Philip Clarke (The Wire)
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“Here is a real one-off composer and this intriguing programme in celebration of his 50th birthday last
year is a perfect introduction to his various moods. Excellent playing by Ian Pace and the Topologies
ensemble, well recorded by David Lefeber as one can take for granted with Metier.” - Peter Grahame
Woolf (Classical London)
“This is an attractive Emsley collection that provides a more or less complete portrait of the composer's
identity. It is intriguing enough to keep the listener alert and surprised by the technical wizardry of
composer and performers.” - Patric Standford (Music & Vision)
“This release is a typical METIER product offering a fairly comprehensive composer's portrait performed
by dedicated players who have long been involved in Emsley's demanding but thought-provoking music.
No light easy stuff, but well worth the effort.” - Hubert Culot (MusicWeb)
MSV 92046
Connolly: Night Thoughts
“Connolly's manner is vividly gestural, beautifully coloured, and compellingly fluid.” - Stephen Pettitt (The
Sunday Times)
“The performers, a corpus of seasoned new-music specialists, respond with dedication to a composer
whose thoughts flow from a source where the intensity of art mingles with the mysterious passage of life.
The Second Sonata for piano, and bass-clarinet study Domination of Black, offer additional proof of the
composer in fine form in the seventh decade”  – Nicholas Williams (BBC Music Magazine)
“…haunted, strange, strangely beautiful music. Nicolas Hodges, the pianist throughout this disc, masters
every nuance the musical landscape requires. He can mention as well as mutter, demonstrate as well as
remonstrate, but his formidable technique dissolves difficulty and urges on us the attention this music
deserves.” - Peter Dale (Music and Vision)
MSV 92050
Finnissy: Lost Lands
"Virtuosic and explosive music, with a frame of reference from jazz to Kurdistan, which proves itself fully
engaged with the world. It is as well recorded as ever, and offers a substantial and memorable
programme. If you need convincing that so-called 'complex' composers live in the real world, you need
look no further.” - Arnold Whittall (Gramophone)
“All in all this is a very interesting listen, not easy but certainly not by any means impenetrable. This is a
fascinating disc all round and nowhere near as difficult as Finnissy's previous press might indicate. Give
it a go!” - Neil Horner (MusicWeb)
MSV 92051
Schwartz/Rochberg: “Variations”
“George Rochberg's Third Quartet from 1972 is a masterpiece that rejects serial modernism, going
beyond quotation in a revival of the styles of Mahler and Beethoven. The Quartet is no postmodern
pastiche either… powerful advocacy from The Kreutzer Quartet.” - Andy Hamilton (The Wire)
“The members of the Kreutzer Quartet handle [the challenges of the Schwartz] with breathtaking
sensitivity. In the Kreutzer's hands the Bellagio Variations receive a wonderfully nuanced performance,
by turns (and sometimes all at once) taut, luxurious, witty and ferocious, entirely befitting the wilfully
disorienting, dream-like nature of the music.” - Tom Myron (Brunswick Times)
“George Rochberg's String Quartet no. 3 is one of the great essays in this medium of the latter half of
the 20th century. How wonderful to hear the Kreutzer Quartet perform this influential work. Schwartz [in
the Variations] twists all the knobs, from spiky to sentimental, to keep the listener engaged throughout.
This is a keeper album.” - Mark Alburger (21st Century Music)
MSV 92053
Taking Flight
“Sadie Harrison has an original imagination that expresses itself in a fluent, thoughtfully poetic
language.” – Stephen Pettitt (The Sunday Times)
“This is said to be the first recording devoted to music by Sadie Harrison, and it shows her to have a
compelling, distinctive, and passionate compositional voice. The performances on this disc are generally
very good, and the recorded sound excellent… this disc is definitely worth exploring.” – Classical London
"Rhythm and lyricism held in perfect balance in a young Australian composer's rewarding programme of
chamber and vocal works. The playing is shapely and eloquent, the recording well-defined to a fault. This
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is a debut which leaves you eager to hear more from such a versatile and accomplished composer.” –
Gramophone
“I am indebted for the discovery of this remarkable Australian's music. The title work, the string quartet
Taking Flight… [is] I think, a masterpiece. Great performances all, and nicely recorded.” - Grant Chu
Covell (La Folia)
“Music of real individuality and purpose, in excellent recordings.” – HiFi News and Record Review
“Harrison's music is often beguiling and has vivid extra-musical resonances. She's in the category of
what could be described as domesticated modernism - tonal composers who are aware of modernist
gestures while aware of the danger of audience-alienation. Harrison is a composer to look out for.” Andy Hamilton (The Wire)
MSV 92055
Maxwell Davies chamber music
“This is a most worthwhile and imaginatively programmed disc, with fine music expertly played.” –
Clarinet & Saxophone
“This programme gives a remarkably clear picture of Peter Maxwell Davies's art. Guy Cowley and Ian
Pace's playing is strong and well controlled. All the playing, indeed, is excellent - the Kreutzer Quartet's
pure tone and fine intonation are great assets in the pared-down idiom of the two Little Quartets. With
realistic, sensitive recording, this is a must for anyone interested in Maxwell Davies.” - Duncan Druce
(Gramophone)
“Recorded with an ideal combination of spaciousness and clarity, and with a booklet note combining
overview and observations from the players, this is a timely disc - and not just on account of Maxwell
Davies's somewhat depleted representation in the current catalogue.” - Graham Simpson (International
Record Review)
MSV 92056
No Title Required
“The recording is immediate and yet spacious. The performances seem to be to be exemplary, often
brilliant. The presentation of this disc is first class.” – Garry Higginson (MusicWeb)
“Exemplary performances of interesting music. I’m looking forward to hearing more” – Grant Chu Covell
(La Folia)
“Is it good? To that, a very definite yes… a flurry of virtuosic playing that is fast, lyrical and deeply
passionate.” – Andy Richardson (Shropshire Star)
“[Rainier’s Suite] is played with esprit… David Carhart ably despatches her Five Keyboard pieces and
accompanies Bridget Carey in a feeling account of the Viola Sonata” – Paul Driver (Sunday Times)
MSV 92057
Beginner’s Mind (Zimmermann) GUARDIAN CLASSICAL CD OF THE WEEK
"...complex ideas presented with endearing simplicity… fascinating, it's one of those sound-worlds in
which you just have to allow yourself to be absorbed and there's much pleasure to be had." - Andrew
McGregor (BBC Radio 3 CD review)
“It is all exquisite, highly poeticised music that deserves to be heard; Ian Pace's performances are
typically indefatigable” – Andrew Clements (The Guardian)
MSV 92058
Wilfred Josephs Clarinet Sonatas/Quintet
“This CD is a refreshing listening experience. The music of Wilfred Josephs is probably not well known
among clarinettists. The pieces presented here are appealing and require and advanced level of musicmaking ability and ensemble skills. The Kreutzer Quartet and pianist Benjamin Frith prove able
collaborators. Josephs' music, like that of other British composers in the 20th century, should be
presented more often if only for the accessible tonal idioms and idiomatic clarinet writing.” - Christopher
Bade (The Clarinet)
“[this disc] may well find favour with more tentative souls, seeking gentler ways of extending their
knowledge beyond the standard repertoire. This was, after all, the purpose of much of Josephs' output.” Denby Richards (Musical Opinion)
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MSV 92059
Inner – Fox cello music
”played with radiant commitment by a votary of avant-gardism. [In “inner”] the simplest of little phrases is
revisited 33 times to form an epic succession that suggests a dadaist version of a Bach chaconne, but
has the genuine spiritual pull of one of Morton Feldman’s rapt excursions.” – Paul Driver (The Sunday
Times)
“Inner tells you everything you need to know about the uncharted possibilities of acoustic composition. In
Anton Lukoszevieze, [Fox] has found a consummate narrative performer who makes much of the tension
between the often delicate purity of the music and its structural rigour.” - Philip Clark (The Wire)
MSV 92061
Septembral
“the highlight is String Quartet No. 3, in a live recording by the Lindsay Quartet… it miraculously
convinces. The air of magic and mystery is sustained by a totally original use of form and sonority menacing rustlings, pizzicato whisperings and col legno clicks. An extraordinary disc.” – The Wire
“This is an impressive showcase for a British composer (b1949) whose interests range from African
drumming to old English folk dance.” – The Sunday Times
“Poole's music in spite of its demands of all sorts is also much concerned with communication which it
often achieves through its sheer vitality, no matter how technically complex it may be. All the
performances are consistently fine as is the recording quality. This release is most welcome.” - Hubert
Culot (MusicWeb)
MSV 92062
Letters to the World
“[Nicholson’s] music, as heard here, is always beautifully crafted, technically demanding, certainly not
easy to play but eminently accessible for the composer always sees to it that it communicates directly by
way of its invention, its imagination and its vitality.” – Hubert Culot (MusicWeb)
MSV 92063
Multiplicities
“Ruffer's playing is fastidious, impassioned and silver-tongued throughout.” - Paul Driver (The Sunday
Times)
“An ambitious survey of late twentieth century pieces for solo flute. This disc will no doubt be essential
listening for flautists engaged with the contemporary music scene. The performances are as
authoritative as it gets!” - Neil Horner (Music Web)
MSV 92064
Reflections (Maconchy & LeFanu)
“Exquisite performances…all quite fascinating. I can only advise that you hunt the CD out. Some of the
sounds on it will haunt you hours after you have returned it to its case.” - Gary Higginson (MusicWeb)
“I welcome a new CD on the Metier label of music by Elizabeth Maconchy and her daughter Nicola
Lefanu, for mother and daughter are equally significant figures in British music and yet inhabit very
different artistic milieux. These very varied works are performed by the eight musicians who make up
Okeanos, a recently formed new music group. Mother and daughter are very well served by them, and
the recordings are excellent.” – Robert Matthew-Walker (International record Review)
“immensely attractive work… superbly idiomatic, inventive writing. Okeanos approach these scores with
imagination and wit rooted in a firm and secure technique.” - Paul Conway (Tempo)
MSV 92065
Rochberg – Caprice Variations
“What a recording!… violinist Skaerved, playing on Francois-Antoine Habeneck's 1734 Strad, handles
the work's many terrors with appropriate style and gusto. These are 51 dazzling variations on Paganini's
wellworn tune. It's a thrill a minute, and it's outrageous enough to impress Paganini himself” – Allen
Gimbel (American Record Guide)
“the performance is so compelling that interest never wavers; the recording is fine; and it doesn't matter
where the music came from since this magnificent instrument enjoys every note. “ - Peter Dickinson
(Gramophone)
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“This quirky, witty, beautiful and often bewildering 90-minute work's sense of shape and purpose feels
brilliantly complete.” – Catherine Nelson (The Strad)
“the journey is an impressive one… I have no hesitation in recommending it” - Peter Grahame Woolf
(Musical Pointers)
“I have to say that Skærved sounds amazing. He’s playing the 1734 Habeneck Strad. Kudos to Metier’s
David Lefeber for capturing the instrument and Skærved’s passionate playing. These variations-onvariations have grown on me and it’s a treat to hear a Strad sound so good.” – Grant Chu Covell (La
Folia)
“I find this performance to be exceedingly sensitive and technically at a very high level. The Skaerved
recording is in better sound [than the Zeitlin version]” – Scott Morrison (Amazon.com)
MSV 92066
Sacred Physic
“Here is a CD which exemplifies Metier's unique flair for presenting contemporary British music to best
advantage. The vocal texts are of the highest quality. This is an excellent, highly desirable portrait CD of
an interesting composer, who has preserved an ever open, enquiring attitude to music and its
performance.”- Peter Grahame Woolf (Musical Pointers)
“Metier is to be congratulated on producing the first commercial CD of Usher's music. On the strength of
the disc she certainly deserves to be better known and I hope it does well. {The vocal works] show the
sensitivity Julia Usher has for the English language and what talent she has for the dramatic situation…
showing genuine flexibility with a voice more her own.” - John Leeman (MusicWeb)
“The performances throughout are excellent, as is Metier's sound, clear and crystal like the
Mediterranean.” - Tempo
MSV 92067
George Crumb Complete Piano Music
“This is a remarkable achievement. The recording quality is superb, as is the cover art. Fascinating
listening. It is evident at all times that Mead knows exactly where he is going. Another triumph for
Metier.” – Colin Clarke (MusicWeb)
“[Crumb has a] fertile imagination for all the timbres and effects that can be extracted from a piano - with
the help of the odd paper clip or glass tumbler, of course. Mead manages them superbly. “  Andrew Clements (The Guardian)
MSV 92068
Wolfgang Rihm Lieder
“[Rihm’s] austerity is matched by the focused singing of Clare Lesser… She is commendably sparing of
vibrato. Rapport is of the closest, with Metier's recording and production exemplary.” – Peter Grahame
Woolf (Musical Pointers)
“scrupulous selection of vocal works from the 1980s and 1990s” – Andrew Clements (The Guardian)
MSV 92069
This Church
“This is a remarkable document of a remarkable large-scale piece that, in all likelihood, won't be
performed again. this piece owes everything to the performers it was written for. The professionals
sound like professionals, the amateurs sound like amateurs, and they are wonderful together. But it
enjoys the additional virtues of a taut structure and some real passion and humanity. We're lucky indeed
they made this recording.” - “Quinn” (American Record Guide)
“The courage of Finnissy's This Church in challenging preconceived notions of new music stood out like
a beacon” - Philip Clark (The Wire) (The Wire top CDs of 2003)
“Texts of endless interest and fascination, the words … underpinned with evocative music which makes
the whole greater than the sum of its disparate parts. an ambitious, but at the same time economical and
unpretentious, oratorio for our times… utterly compelling” - Peter Grahame Woolf (Musical Pointers)
“The textures are always spare and the manner ritualistic, but the journey from "Kyng Edward the syxt"
to the first world war is epic.” - Paul Driver (The Sunday Times)
132
“There are new compositions worthy of note. One such is Finnissy's This Church, a cycle of stirring,
beautifully-sung music performed with great skill.” - Andy Richardson (Shropshire Star)
“This music has grit and invention and documents a genuine situation: a cutting reproach to the glibness
and ingratiation which seem to be the inevitable condiment to commerce.” - Ben Watson (The Wire)
MSV 92071
McCabe Piano Music
“A splendid release. Make no mistake: Honma is a superb player. The composer provides his imprimatur
of her in the booklet, but hearing her one appreciates immediately how technically able and
interpretatively alert she is. Very strongly recommended.” - Guy Rickards (Gramophone)
“[Tenebrae] is an astounding work of breathtaking beauty. Fans of piano music will swoon at the
sympathetic and responsive treatment that Honma gives to this magical piece by one of our foremost
contemporary composers.” - Andy Richardson (Shropshire Star)
MSV 92073
Detours
“This is an arresting CD which compels listening. Psappha is an ensemble as innovative as is
McPherson a composer. Excellent production, as is Metier's way, and the cast list helpfully identifies
who plays in what pieces. Strongly recommended for its originality and vitality.” - Peter Grahame Woolf
(Musical Pointers)
“McPherson explores an intriguing hinterland between banal sounding sources and complex multidimensional extrapolations of the material with strong hints of Charles Ives. Great titles for great pieces”
– Philip Clark (The Wire)
“I am delighted to report that I really enjoyed the music that is thankfully free of "crossover". The music
may at times allude to other musical genres, but it is never eclectic… McPherson’s seems, judging from
these works, a calm gentle voice prone to nostalgia, which is reflected in his warmly melodic style…you
will find much to enjoy here. Well worth investigating.”- Hubert Culot (MusicWeb)
MSV 92075
Gerhard Stäbler Complete Piano Music
“Stäbler considers the piano an instrument for which there is still much to be said. I did play the Stäbler
CDs straight through and enjoyed doing so. Metier must be congratulated on their plans to continue to
profile German contemporary composers, and I can recommend this one to open minded musical
explorers.” - Peter Grahame Woolf (Musical Pointers)
MSV 92076
Night Fire Sun Silence
“Eight works by a composer whose craftsmanship is as fastidious as his imagination is spirited.” – Paul
Driver (The Sunday Times)
“Here is another useful compendium of music [by John Casken] , whose idiom is accessible-modernist.
The recordings (1992 & 1993 in Manchester) are good and the production is of Metier's usual high
standard.” – Peter Grahame Woolf (Musical Pointers)
“This approachable music is well played” - Peter Spaull (Liverpool Daily Post)
MSV 92082
Fox & Feldman Clarinet Quintets
“Clarinet and String Quartet is a beautiful example of Feldman's late style… incredibly well played by
Roger Heaton. Fox is one of England's most important composers. He evokes whole worlds with little
material. As in the repetitive, subtle 'Clarinet Quintet', a fragile landscape of microtones.” - Anthony
Fiumara
“This inspiringly abstract disc juxtaposes two items for clarinet and string quartet, both of which are
essentially reflections on the medium, the sonority itself. Heaton plays beautifully, as does the quartet.” –
Paul Driver (The Sunday Times)
“[The Feldman] is a wonderful showcase… its gradations of rhythm and colour become endlessly
fascinating. Fox's Quintet… confers enormous significance on the smallest nuance.”  - Andrew
Clements (The Guardian)
133
“This CD is a good 'way in' to both composers. I had two hours of pleasure from playing this one twice
through and thinking about it.” – Peter Grahame Woolf (Musical Pointers)
“Patterns, reflections, repetitions, colour and subtlety are in attendance in both cases, whether it’s the
more extensive hypnosis of Feldman or the more active localised dramas of Fox”. - Jonathan Woolf
(MusicWeb)
MSV 92083
Darkness Visible
“One is struck by the sheer quality [of Grange’s music] – all of it uniformly excellent. Gemini’s recorded
performances of these three pieces are powerful and magisterial, and vividly realize the darkly urgent
and intense expression of each work.” – Rodney Lister (Tempo)
“This is music whose creative instincts are undeniably personal. Finely prepared performances, heard in
a commendably natural ambience and with Grange contributing the informative booklet note.” - Richard
Whitehouse (Gramophone) GRAMOPHONE CRITICS’ CHOICE 2006
“[These three works] have a power and drama quite their own.”  - Paul Driver (The Sunday Times)
“Grange knows exactly how Gemini ‘sound’ and they are completely on top of the music. They play these
challenging works with confidence, with belief in the music and, under the composer’s supervision,
authority. One is immediately plunged into an enigmatic world but one so clearly realized and in which
every detail is heard. Metier is doing a terrific job… and here delivery a nicely balanced recording. This is
sometimes tough music but the disc comes with a highly recommended stamp from me.” – Gary
Higginson (Music Web)
MSV 92084
The Light Garden
“Heard from the next room it might be possible to confuse Sadie Harrison’s eloquently crafted
compositions with the interleaved traditional Afghani music. Both styles are elegantly played and
wonderfully recorded. Metier releases always sound excellent. David Lefeber has curated a catalog of
consistently impressive discs. In such lofty company, this one still stands out. Metier has accomplished
something quite remarkable with Harrison’s amazing music and the Bakhtar’s vibrant playing.
Indisputably one of this year’s best.” – Grant Chu Covell (La Folia)
“The performances are as committed as expected. Would that all fusions of ‘world’ and ‘art’ music
evinced such individuality and conviction.” –Richard Whitehouse (International Record Review)
“Not to be missed on any account. This is without question one of my top recordings of the year, a
ground-breaking release which points to the future scope of CD presentation. The Metier CD's given
total timing is a very sufficient 68 minutes, but the [multimedia] package offers you several additional
hours instruction and illumination. The extras are easy to access and navigate; they work like a charm
and enhance enjoyment and appreciation exponentially.” - Peter Grahame Woolf (Musical Pointers)
“distinctive, pungent music that demands close attention.” - Andrew Clements (The Guardian)
“Harrison has somehow managed to marry contrasting traditions, inter-relating them by association yet
leaving the integrity of each intact. And that is no small achievement. I have heard various works by this
still-young composer in the past, yet here I feel she has finally defined her own individuality. Find the CD
and buy it.” - Colin Clarke (MusicWeb)
MSV 92089
Castiglioni Piano Music
“It’s splendid to have a single disc devoted to the piano music of Castiglioni… such discs as Sarah
Nicolls has now compiled are very much a rarity. The recorded sound is commendably clear yet warm
and Nicolls explores these diverse works with a surety and finesse that are admirable – and truly
winning.” - Jonathan Woolf (MusicWeb)
“The objectivity of post-darmstadt modernism hangs over everything in Niccolo Castiglioni's music, but
through this prism he's free to express anything he wants. There's florid decoration owing much to the
vocal acrobatics of Italian opera; references to Baroque and classical keyboard stylings abound
everywhere, and Castiglioni even plunders ragtime in one piece. British pianist Sarah Nicolls has a ball.”
- Philip Clark (The Wire)
134
“There's not enough Castiglioni out on disc, so this one comes warmly recommended.”- Dan Warburton
(Paris Transatlantic)
MSV 92097
Tristan Murail piano music
“While listening I am constantly possessed by an impression of something beyond the world, not
conventionally religious, but spiritual. This is music to which I shall be happy to return. As for the
performances you can rest assured that in Marilyn Nonken we are hearing a musician of outstanding
qualities. It is evident that she knows, strongly characterises and loves this music. She has performed it
and many other 'difficult' contemporary works all over the world and is a pianist in whom we can trust.
Her mastery of Murail's sonorities and her virtuosity are truly remarkable and demand attention.” - Gary
Higginson (MusicWeb)
“Debussy and Messiaen live on in the filigree and chords of Murail’s poetic piano compositions. True to
form, Metier captures these atmospheric works and Nonken’s artistry superbly.” - Grant Chu Covell (La
Folia)
MSV 92100
New French Song
"excellent CD" - Iain Cameron
MSV 92101
Judith Bailey Instrumental Music
“The Cornish composer Judith Bailey is succinct in her music. You would know that if she ever wrote a
sixty minute symphony every note would count. Going by these works she is also of a serious bent yet
with a light heart. The Davey Ensemble are accorded a powerful close-up sound. I am sure that Judith
Bailey must be grateful to… the Davey Ensemble whose expertise and caring dedication has released
this music to the listening world.” – Rob Barnett (MusicWeb)
“Bailey ... writes with a deft precision giving you the feeling that she really considers each note before
putting it to paper. Bailey sonically paints her pictures with an emotional core that shows real heartbeats
pumping along.” - Chris Spector (MidWest Record)
“My congratulations go to all concerned. Everything with this release is very well presented: the
composer’s own notes on each piece giving plenty of useful and relevant information. It is interesting to
see that the works are programmed in chronological order, and so one has a sense of ongoing growth
and development. this is a well-performed programme of some highly intriguing music.” – Dominy
Clements (MusicWeb)
“[Judith Bailey’s] instrumental music occupies an important place in her musical output and is given the
platform it deserves in this release. The performers are strong advocates for Bailey’s music and they’ve
been recorded in quite a pleasingly up-front sort of way. This is a fine and stimulating conspectus of
Judith Bailey’s chamber music.” – Jonathan Woolf (MusicWeb)
MSV92102
Chanticlare
“Clare Lesser is blessed with a gorgeous voice and terrific technique. The programme is nicely varied...
very entertaining. An exceptional disc.” – Peter Grahame Woolf (Musical Pointers)
MSV92103
Catalogue Irraisoné
RECORDING OF THE MONTH July 2011: “Fox has demonstrated an interesting and imaginative
approach to the setting of words,,, extremely impressive performance with a wonderful sense of
interaction and energy. Enchantingly expressive… overall this is a highly engaging and fascinating work,
which has enormous appeal. The performance by Exaudi is exemplary and standards of production are
equally high. Not to be missed.” – Carla Rees (MusicWeb)
“Fox is experimenting… with the distinction between song, speech and declamation and Exaudi serve
these technique-stretching demands keenly. The surface might be disarmingly simple, sometimes
serene even, but there’s a deeper wisdom at play that keeps these aphoristic statements rewinding in
the imagination.” – Philip Clark (Gramophone)
“By turns seductive and rude, playful, violent and gloriously low-tech” – Anna Picard (The Independent
on Sunday)
135
“Christopher Fox’s Catalogue irraisoné, for solo voice or vocal ensemble, teeters on the edge of music.
each piece seems little more than a precisely annotated index card for something of more weight,
housed somewhere else. Their collection hints at an inscrutable culture, with its own rituals and strange
art. This world hides itself behind a peculiar bureaucracy, but its threat still permeates even the most
objective utterances. EXAUDI bring the disinterested commitment of the archivist or bibliographer,
leaving the mystery and meaning of this music to us to uncover.” - Tim Rutherford-Johnson (Musical
Pointers)
“I found most of these pieces fairly interesting ... most are composed for solo voice, with sopranos Julia
Doyle and Juliet Fraser exemplary in the combination of perfect vocal placement, pitch and rhythm. The
brief appearance of counter-tenor Tom Williams showed that he has a really splendid voice, The
interesting tightrope walked here between seriousness and wry humor will, I am sure, lead different
listeners to hear this music and get different things out of it than I did.” – Lynn René Bayley (Fanfare)
92104
Trajectories
“After hearing this beautiful CD, I am keen to discover much more of Gorton’s music... it seems to me
lyrical without being soft, complex without being threatening, cool without being cold. It is intricately
crafted, but it wears its intelligence lightly.” – Tim Rutherford-Johnson (Musical Pointers)
“One can only marvel at the dedication and precision of the musicians. Both violinist Peter Sheppard
Skaerved and cellist Neil Heyde... are virtuosos of the first rank.” – Lynn René Bayley (Fanfare)
“Contemporary classical is alive and well in ... music that seems difficult to play but certainly rewards the
listener for sticking with it. A pretty solid bet for the classical malcontent that wants to chart some new
waters.” - Chris Spector (Mid West Record)
92106
Music of 9/11. Vol. 1
“The New World Ensemble give [Eighteen Minutes] an intense and finely played performance. [Requiem
77] is a strangely mesmerising and disturbing piece that repays repeated listening. Christian Elliott
tackles this difficult piece wonderfully. Angels and Fireflies receives an excellent performance. This disc
is full of immensely emotional content, These works are excellently played by all the artists concerned.
There is a fine recording and informative booklet notes by the composer. This is not an easy listen but
very worthwhile and at times emotional nevertheless.” – The Classical Reviewer
“[Eighteen Minutes] is a sobering and appropriate tribute to modern history’s irrevocable turning-point.
The CD is neither mawkish nor exploitative, but a genuine attempt to create a meaningful art work for a
moment that cannot be forgotten.” – Rick Jones (Music Blog)
“Kevin Malone deals with the horrors of 9/11 in stylistically varied music. The result is emotionally
gripping. Victoria Daniel and the Manchester Sinfonia under Richard Howarth offer a very coherent and
musically striking performance, full of expression and musical beauty, with an excellent recording.
Overall, a production that one can hardly escape emotionally. - Interpretation: X X X X Sound Quality:
X X X X Repertoire: X X X X Booklet: X X X - Jürgen Schaarwächter (Klassik.com)
Section 8B: Metier Re-appraisal series
MSVCD 2001
Bach Toccatas
“A very special disc... Katharine Durran's a Bachian of luminous integrity and unforced nobility, who
captures his capriciousness and occasional obsessiveness with equal insight.” - Daniel Stearns (Piano
Magazine)
“She manages to combine a sense of historical awareness and clarity with real musicality and
panache… superb performances, characterised by clarity, style, and responsiveness. Her unforced,
natural artistry and dynamic pianism place this performance in the first rank. All in all, this is a wonderful
disc…superbly engineered to audiophile standards.” – Musey Room
MSVCD 2002
Bach: Well Tempered Clavier, Book II
136
”As a Bach player Diana Boyle is at once fastidious and a free spirit. Everything is newly invented, and
crackling with intellectual energy. These pieces emerge in truly towering sequence.” - Paul Driver (The
Sunday Times)
“There is so much to enjoy in her playing. It is wonderfully clear, bringing out Bach's counterpoint to
perfection and this recording is a must for those who want to study these works from the academic point
of view of Bach's counterpoint. She also has a marvellous way to make some of the music very robust
and does not play Bach in that wishy washy, pastel and affected way. For this and many other qualities
she is to be commended.” – MusicWeb
MSVCD 2003
Beethoven Explored, vol. 1
“An interesting program mostly of very rarely heard works. This could be very satisfying for someone
seeking something classical but off the beaten path. Skaerved and Shorr … know their way around
classical scores better than most big-time soloists, and this is a very satisfying, intelligent interpretation
of [the Sonata].” – Josef Magil (American Record Guide)
“This is a splendid start for what appears to be an ongoing project. These first-rate performers clearly
love and deeply understand the music, their rapport is impeccable and the insights they provide into
Beethoven’s mid-period style are fascinating. The recording quality is admirable.” – Roy Brewer
(MusicWeb)
“This is an auspicious Volume 1 to launch Metier's Beethoven Explored series, and it begins with an
ideal performance of Beethoven's last sonata Op. 96. That is an endearing and unique work which I
particularly love and cherish - and in earlier years had often played it at home with violinist friends.
Everything here makes me smile with pleasure at its 'rightness' - balance, articulation and phrasing, and
the tone quality of both instruments. I am tempted to say this is the best recording of Op. 96 I know. No
worry or competition though; this series is unique in its purpose and as such is to be unreservedly
welcomed. Full informative background notes by the violinist and everything else in the safe hands of
David Lefeber. - Peter Grahame Woolf (Musical Pointers)
“The playing is articulated with beautiful clarity, (enhanced by a notably clean recording); it’s a well-lit
musical landscape in which all kinds of harmonic and textural details achieve prominence” – Duncan
Druce (Gramophone)
MSVCD 2005
“This highly interesting series from the enterprising Metier label combines sterling and polished accounts
of Beethoven's violin sonatas together with rare works by his contemporaries. The recordings are quite
excellent on all counts. I greatly enjoyed the Ries Sonata which is also very melodic and carefully
constructed – a tribute to this rather overlooked Scandinavian composer.” – Gerald Fenech
(ClassicalNet)
MSVCD 2006
“This highly interesting series from the enterprising Metier label combines sterling and polished accounts
of Beethoven's violin sonatas together with rare works by his contemporaries. The recordings are quite
excellent on all counts. Op. 23 and the "Spring" sonata bring about considerably heftier challenges for
Sheppard and Shorr but they sail through proceedings in quite disarming simplicity.” – Gerald Fenech
(ClassicalNet)
MSVCD 2007
Beethoven Explored vol. 5
“The velvet-toned violin of Peter Sheppard Skaerved has found an inspired partner in Aaron Shorr. Hats
off to [Skaerved] whose beautifully articulated, lithe playing emerges from out of the piano’s rolling
textures rather than masking them. For once we are allowed to experience these glorious works as piano
sonatas with violin obbligato as Skaerved weaves his way in and out of Beethoven’s indomitable flights
of pianistic fancy, brought stunningly to life by Aaron Shorr’s perfectly regulated playing. Well-balanced
engineering provides the musical icing on the cake.” – Julian Haylock (Sinfini Music)
“Sheppard Skaerved and Shorr do all they can with this simple-minded effusion [of the Romberg
Sonata]: their playing in top-notch Beethoven is arresting, and their virtuosity in Op.12 No.3 thrilling.” Michael Round (International Record Review)
137
“an Andreas Romberg sonata ... particularly charming and evocative. This sonata is played most
sympathetically, and I also enjoyed the Beethoven performances, Sheppard Skærved and Shorr manage
the tempi of each movement most expertly.” – Duncan Druce (Gramophone)
“Peter Sheppard Skærved and Aaron Shorr play Beethoven's sonatas with plenty of gusto and a wide
dynamic range. Even at the tender age of 18, Beethoven wrote music full of surprises and abrupt
dynamic changes. Excellent booklet notes.” – Joseph Magil (American Record Guide)
“If [the CD notes] seem academic or even pedantic, the performances themselves should allay any fears
that they’ve been marred by mannerism. That’s true in the First Sonata, with its first movement delivered
crisply and with gusto, the variations remaining cheerful almost throughout and the Rondo sunny. The
release’s clear and clean recorded sound and evincing a cheerful musical outlook should make these
works (Romberg’s and Beethoven’s alike) appeal especially to those who favor a sunny and transparent
approach to Beethoven’s early works. Strongly recommended to these listeners but to others as well, the
performances themselves should communicate more vividly than do the detailed notes.” - Robert
Maxham (Fanfare)
Section 8C: Metier Jazz
MJ0401
Ambiguous Dialogues:
“A very beautiful CD… hints at jazz, classical and World Music…sounds great.” – BBC Radio 3
“Clemo possess the compositional vision… to create something both intensely personal and profoundly
beautiful.” – Jazzwise
“Clemo builds [a] jungle in your head with a view of strange landscapes beyond. Bring a change of
clothes, you may want to stay for a while.” – Kenneth Egbert (Jazz Now)
”Mesmeric and completely addictive.” – The Wire
“Clemo’s evocative “location sound recordings” and his understated string writing gives the music an
atmospheric sense of place. This is a bold debut for Metier Jazz… an album I enjoyed greatly.” - Jazz
Review
MJ0402
Mystery Lights/Nightflower:
“This is a lovely record. Intimate and unassuming, it sounds like nothing else and imparts a warmth that
deepens with each listen. It's music to furnish the secluded corners and secret recesses of the mind,
catering from quiet times.” – Julian Cowley (The Wire)
MJ0403
Macroscopia
“DeBrunner’s bassoon is an unlikely ingredient that works exceptionally well. It’s hard to focus on any
one player for very long... one begins to appreciate the subtlety and brilliance of this work. This is an
album about texture, how instruments-as-chemicals interact with one another to form new substances. If
listeners are reluctant to name it one of 2010’s best releases, one must admit that it is one of the most
intriguing.” – Seth Watter (All about Jazz NY)
“Continual intrigue of creative improvisation... the ensemble keeps their sound close and controlled, the
interaction is mild and unpretentious. Particularly because of the bassoon, the album assumes the role of
a story-telling device. With the saxophone... Carter creates tender moments that are highlighted .” - Lyn
Horton (Jazz Times)
“Overflowing with ideas, this music is often dream-like with consistently tight interaction between all four
members, sometimes simmering way below the boiling level” – Bruce Lee Gallanter (Downtown Music
Gallery)
“Chamber music sounds with an enigmatic character and tempo. Although the title might suggest the
appreciation and enjoyment of the work in general, it is also a pleasure to focus on the delight of the little
details.” – Pachi Tapiz (Tomajazz)
138
“The theme... is the universality of music, expressed as group improvisation by four superlative
musicians. A thought-provoking work of powerful improvisation that draws on various influences to
create a unique identity” – Hrayr Attarian (All about Jazz.com)
“Silverman’s unconventional guitar playing and Zlabinger’s often hypnotic bass playing are really good.
The way [DeBrunner] uses her bassoon is highly unusual yet at the same time a kind of revelation. The
album is rewarding for its openness, subtlety and adventurous lyricism.” – Free Jazz-Stef
“Exploring the sound of sound as well as the texture of sound, this is head music for the open eared.” –
MJ0404
Borderlands
“Jonathan Lorentz has really got it: a great style, an explorative mind, and a concept for this album that
goes beyond the usual fare you hear from jazz sax trios... he definitely has his own thing going—
simultaneously lyrical and surreal. This one will stay with you for a long, long, time. Phrases from it will
play in your mind like a tape loop from space.” - Lynn René Bayley (Fanfare)
“Really heady stuff...stellar musicianship. This is a CD that clearly requires your advertent attention. You
cannot let any distraction divert your attention or you will miss the fine tuning of Lorentz’s creative
journey.” – Randy Treece (Albany Jazz)
“Taking it to the next plane, as well as the next level, Lorentz is a real genre splicer that serves it hot for
left leaning tastes.” – Chris Spector (MidWest Record)
Section 8D: Metier World
MW36001
Sweet Nomad Girl:
“… beautiful album of folk songs from Herat in Afghanistan. Their… restrained and refined versions
stand up to repeated listening and hearing these exquisite performances you can understand why Baily
and Doubleday have become honorary Afghans at concerts around the world.” – Simon Broughton
(Songlines)
"Baily's fingerwork – on dutars of different kinds – is superb, and they've roped in Abdul Wahab Madadi,
a Herati singer who really is the biz. The lyrics are drenched in youthful sensuality and the melodies
have great charm."  - Michael Church (BBC Music Magazine)
139
Section 9: Heritage Media
HMD26101-4 The Classic Sherlock Holmes
“John Gielgud stars as an enthusiastic, mischievous Holmes and Ralph Richardson is his fruitily
avuncular Watson. Others involved include Val Gielgud (Sir John’s brother) as Mycroft Holmes and
Orson Welles as a memorable Professor Moriarty. Heritage Media have released the whole of this
excellent vintage radio drama, sympathetically remastered ... this collection is a treat for all Holmes
aficionados.” – New Classics
“True classic Sherlock Holmes.... essential listening... all superbly dramatised. There are times when the
sound is slightly cramped as these are mid 1950's mono recordings but otherwise I have nothing but
praise for these issues and a top recommendation is surely in order.” - Gerald Fenech (Classical Net)
“There has always been a chemistry between Gielgud and Richardson on stage, and it is good to hear
how wonderfully they play off each other... this Holmes is a little less neurotic and cynical than the
Holmes on the printed page. I used to hear some of these on an old LP set and am grateful to Heritage
Media for making these broadcasts available on CD.” - Frank Behrens (New England Regional Press)
Section 10: RP Music
RP001
Fifty Years of Music Making
“Katin has ... established himself among the leading British virtuosos, on a plane with Solomon and
Clifford Curzon ... the pianism remains direct, inflected and stylistically effective.” **** – Gary Lemco
(Audiophile Audition)
“A feast for Katin admirers... a rare example of Katin’s Bach” – Jonathan Woolf (Musicweb)
RP002
Peter Katin plays Chopin
“Katin infuses his personal digital prowess and magic... A veteran’s seamless security Katin brings to the
Chopin table and that combination wins the berries.” – Gary Lemco (Audiophile Audition)
“A feast for Katin admirers ... most instructive listening.” – Jonathan Woolf (MusicWeb)
140
Section 11: Diversions Books
Trevor Barnard: Neglected Areas of Piano Teaching
"Good advice abounds, much of it grounded in pure common sense and all of it presented with a
simplicity that never hints at condescension " - Alan Blakelock (Piano Magazine)
"I can highly recommend this not only as an invaluable resource in the day-to-day teaching situation but
also for those teachers involved in pedagogy studies. - Rita Crews (The Studio)
“An excellent book for both teachers and students, not only covering very important written guidelines in
studying piano techniques but accompanying these with musical examples from well-known
compositions... very easy to read and understand” – June McLean (Stretto)
"There are six chapters...and all deal with important technical issues. Of more use to aspiring self-taught
students who need specific guidance." - Nadia Lasserson (Piano Professional)
Section 12: DVD (all labels)
Metier MSVDX101 Quartet Choreography
“This is an important Kreutzer Quartet production. The performances of all this music are riveting and
have captivated listeners who would normally find engagements with some of this music far from easy.
Recommended for essential purchase.” – Peter Grahame Woolf (Musical Pointers)
“Any release spunky enough to embrace Ligeti’s and Finnissy’s Second Quartets..is OK by me. These
films are edited to mirror something of the composer’s approach to structure but, more significantly, to
allow viewers to see the physical interaction between player and instrument. Stravinsky was right: we
hear these moves, see the sounds differently. - Philip Clark (Gramophone)
“An apt verdict on the Kreutzer readings is that of veteran music commentator Peter Graham Woolf, He
said of Metier’s DVD: ‘The performances of all this music are riveting and have captivated listeners who
would normally find engagements with some of this music far from easy. Recommended for essential
purchase.’ Regarding the entire DVD we are informed [by Metier] that it is: 'a valuable and rewarding
tool for observing how the players of an ensemble communicate and interact, especially in works like
that of Lutoslawski which allow performers a degree of choice.' Statements in the sales pitch are selfevident. “ – Howard Smith (Music & Vision)
“[The Kreutzers’] playing is vivid, technically assured and strongly characterful throughout, and there’s a
real sincerity to the performances with no sense of acting up for the camera. There are times where
watching the performer really adds to the musical experience.” – David Kettle (The Strad)
141
Divine Art Recordings Group
Divine Art Limited, 2, Lady Hamilton Drive, Swarland, Morpeth NE65 9HH, UK
 +44(0)797 902 3121
e-mail: [email protected]
web: www.divine-art.co.uk
Diversions LLC, 333 Jones Drive, Brandon Vermont 05733, USA
 1-802 247 4295 e-mail: [email protected]
web: www.divineartrecords.com
critics/3/9/14
142

here. We should just mention in particular

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piano - Edea