
CRITICAL ACCLAIM
EAST
OF BERLIN: Mussorgsky Pictures; Suda; Sokola; Ben-Haim – Florence Mustric, Von Beckerath Organ MS1270
“Florence Mustric's
version [of Pictures] provides a fresh spin on a piece originally for solo
piano. Mustric's adaptation is a particularly spacious evocation of Mussorgsky
miniatures, with all manner of expansive tempi allowing for time to dwell on
details that may fly by in other versions. Even to ears accustomed to Ravel's
wondrous spectrum of orchestral colours, the organ transcription has plenty of
convincing and effective registrations. The instrument's grandeur is put to
magnificent use in "The Great gate of Kiev". Mustric
plays the Mussorgsky as if the work were born for organ.
The recording's sound is excellent.”
Gramophone ~ June 2008
MUSIC
OF BARBARA HARBACH: Chamber Music I – Ensemble Istropolis; Moyzes String
Quartet MS1253
"...the
pieces here recorded are quite delightful. There is an open-air quality to these
pieces...The scoring is transparent and the textures clear and bright..this
music doesn’t sound like any composer I’ve ever heard, it is original in
that respect. It is very well written and skillfully, and gratefully, scored for
the various ensembles. The performances here are very assured...I am very
pleased to have made Ms. Harbach’s acquaintance and want to hear more. It’s
fine stuff, well deserving of a hearing.”
MusicWeb International ~ July 2008
“[Harbach's]
style is unabashedly tonal and optimistic, attractive in uncomplicated fashion. Barbara
Harbach's chamber music is melodic and well-crafted...this
is attractive music and I look forward to exploring more. No complaints about
the performances under Kirk Trevor, all of which provide worthy advocacy...”
Gramophone ~ July 2008
“A
great deal of credit for the success of the music on [this record] goes to the
conductor and the sound engineers. They have done their best to present the
composer, who should someday-if there is any justice in the universe-become a
household name. You
have got to hear this woman's music
if you're a fan of mid-century American romanticism. She brings something
entirely new to the table.”
American Record
Guide ~ March / April 2008
"Harbach
has distinguished herself as one of the preeminent American composers of any
generation. Her music is distinctly American,
with clever folk elements that hint at Copland but are all uniquely her own.
[this disc is] a testament to Harbach's versatilit; the works on this album are
scored for an impressive assortment of instruments, from the traditional string
quartet, brass and woodwind quintets, to larger ensembles featuring both
strings, winds, and brass."
All Music Guide ~ December 2007
MUSIC
OF BARBARA HARBACH: Chamber Music I – Ensemble Istropolis; Moyzes String
Quartet MS1252
"[Harbach is]
a dead-on-heart-and-soul American romanticist in the Copland-Hanson-Harris
mold...Harbach's music astonished me for its heavy reliance on the lyric and the
beautifully (and cogently) framed melodic line. I could listen to her music for
hours. This music is so uniquely
characterized with its own sense of beauty that it makes me wonder where this
woman has been all our lives. This
is music that really needs to be heard."
American Record Guide
~ March / April 2008
BEYOND
THE HORIZON – Adam Frey, euphonium; Paula Peace, piano MS1249
"Adam
Frey [is] perhaps the world's leading young euphonium player...[this disc] is a
significant contribution to the euphonium world, presenting a
number of new works that should become part of the standard recital
repertory...ability to play technically difficult, slurred material with
admirable evenness and precision. Excellent collaborative work by pianist Paula
Peace."
Fanfare ~ March
/ April 2008
TAKING
FLIGHT – Adam Frey, euphonium; NZSO / Hangen MS1248
"Adam
Frey is an expert euphonium player... Frey can get from the bottom to the top of
the instrument lickety split. Endless streams of fast notes with no breath? No
problem. In lyric material found on Taking Flight... Frey's tone is so
fluid and pristine he almost sounds like he is playing a saxophone...Frey takes
this bumpiest of instruments for a smooth ride throughout, and always comes in
for a three-point landing."
All Music Guide ~
April 2008
"Adam
Frey [is] perhaps the world's leading young euphonium player...[This album]
makes it clear that his reputation is deserved.
Frey shows a beautiful tone that is full yet crisp...fine interpretive
instincts...amazing technique...Frey sounds terrific, and the New Zealand
Symphony gives its all to the project."
Fanfare ~ March /
April 2008
LIRICO
LATINO: Songs for Solo Trumpet – James Ackley; Rebecca Wilt MS1246
"Phrasing and
interpretation are vital to a top-notch performance of the music on this
recording, and Ackley, accompanied brilliantly by pianist Rebecca Wilt, more
than meets the task...Ackley
plays with a wonderful combination of sensitivity and fervor.
Phrases ebb and flow, vibrato is controlled perfectly and without affect, and
intensity is achieved without destroying the lyrical nature of these
thoughtfully selected songs. Lirico Latino captures the imagination ..."
Kevin Scully, ITG Journal ~
January 2008
"All
that is needed [here] is a beautiful tone and lots of heart, and Ackley has
plenty of both. The Latin
flavors are found in the piano parts, played by Rebecca Wilt with subtlety,
ease, and flair."
American Record Guide ~ March
/ April 2007
ANNA
BON DI VENEZIA: Six Harpsichord Sonatas, Op.2 – Barbara Harbach MS1241
"Harbach
utilizes a beautiful sounding Willard Martin instrument fashioned after a French
double manual harpsichord built by François Blanchet; it suits the music
perfectly, and Harbach intelligently works with the Martin's various
registrations to keep the program overall varied in sound. Those
who enjoy and appreciate eighteenth-century keyboard music will certainly not
fail to treasure this MSR release."
All Music Guide ~ May 2008
PRESTIDIGITATIONS:
Contemporary Concert Rags by J. L. Zaimont – American Ragtime Ensemble /
David Reffkin MS1238
"[Bubble-Up
Rage is] probably the best new piece for flute and piano that I've heard in a
long time...[Reflective Rag] is
wistful, lyrical - a beautiful remembrance of ragtime that moves me...[Zaimont
and Kosloff's performance of the Snazzy Sonata] is extraordinary for its verve
and ensemble..."
American Record Guide ~ November /
December 2007
"...an
irresistible program of original rags and other pieces of popular Americana that
the composer tweaks to loving, rollicking and poignant effect...
The performances are captivating across the board, including those featuring
Zaimont herself as pianist...the music enchants."
Gramophone ~ October 2007
"Judging from the music on this recording, Zaimont has not only brought the great
rag music we know from the past into the twenty-first century, but she has
created new music that will have a
definite appeal...The disc is well presented, with authoritative notes and good processing. For
me, this was a highly entertaining 57-plus minutes. It's a disc full of good
music that will definitely put a an extra jump in your step!"
Classical
Music Guide, June 2007
ROMANZA:
Works for Trumpet, Bassoon & Orchestra – Guy Few; Nadina Mackie Jackson /
McGegan MS1232
"Seductively
and shimmeringly gorgeous…"
World Magazine ~ June 2008
GREGORY
PARTAIN PIANO RECITAL – Rachmaninov, Scarlatti, Barnes, Beethoven MS1231
"...suave and
comfortable performances of three Rachmaninoff Preludes. He handles the B-flat's
tumultuous left-hand figurations with ease and, in the polytextural central
section, prepares an unusually protracted and supremely controlled ritard...a
lively, vivacious [Scarlatti] A major sonata...Partain
[has] superior fingerwork throughout Beethoven's Appassionata...[In
the Brahms, the] tempo relationships and transition emerge in a seamless,
cumulative arc. Appropriately, Partain's tone fills out and opens up: notice how
he achieves a beautiful legato phrasing through fingers alone, scarcely touching
the sustain pedal. "
Gramophone ~ December 2007
"...some of the best
Scarlatti I've ever heard...13 minutes of stunning playing - crisp, clear,
articulated, and phrased. There is balance and rhythmic vitality in every
measure. Dare I say it, these
approach the same level as Horowitz's legendary recordings...I
enjoy Partain's performance very much [of the Brahms Variations]...I enjoyed a
performance [of the Appassionata] that fully realizes the quote ["strong,
intelligent, unshowy pianism'] "
American Record Guide ~
November / December 2007
"Gregory
Partain is a gifted pianist, and every item is intelligently and sympathetically
played. Partain's strengths show to best advantage in the group of Scarlatti
Sonatas, especially the beautifully judged account of the pensive F minor, and
in a thoughtful, sensitively shaped and expressive rendition of Brahms' rarely
heard Original Theme variations, to which Partain
imparts a cumulative power I have seldom heard brought out to such vivid effect.
The recording is good." [Performance: 4 of
5 stars]
BBC Music Magazine
~ November 2007
"Gregory Partain
demonstrates his ability to shift rapidly and deftly between greatly differing
compositional styles. [In the] Rachmaninov preludes...Partain's exemplary skills
in voicing the dense compositions [are demonstrated]. The melody clearly rises
above the harmony and accompanimental figures almost as if it was being sung.
Inner voices are remarkably well-articulated and there's no trace of
over-pedaling. [In the] three sonatas of Domenico Scarlatti...Partain
effortlessly shifts from the lush, emotive Rachmaninov to the crisp, energetic,
and elegant figures of the Baroque. The A major Sonata contains passages of
repeated notes that are executed with almost impossible speed and precision. The album culminates with a very
satisfying rendition of Beethoven's Appassionata Sonata. All of his
aforementioned attributes come together here — brilliant clarity, crisp
articulation, and a magnificent sense of pacing... this album is an excellent
introduction to an artist whose career should be watched with anticipation"
All
Music Guide, October 2007
HAMPSON
SISLER: THE COSMIC DIVIDE – NSO Ukraine / Leytush MS1229
"...what results
from the team-up [of Sisler and Leytush] is quite beautiful music and, in the
case of the Four Impromptus a
possible addition to the standard repertoire.
It's a terrific piece of music based on hymn tunes and chorale themes. It
has melodies Howard Hanson would die for.
You should buy this just for this one work. The Cosmic Divide is a very
listenable work...This man should be much better known than he is.."
American Record Guide ~ March
/ April 2007
THREE
CENTURIES FOR FOUR BRASS – Metropolitan Brass Quartet MS1228
"Originally
released 25 years ago, this
recording remains as gorgeous as it is revelatory.
"
World
Magazine ~ April 2008
"...this
one is a gem. It is a pleasure to hear the MBQ's warm
and round sound, superior intonation and blend, and easy way with difficult
passages. "
American
Record Guide ~ January / February 2008
"This
is a very welcome reissue...It presents both 16th century and modern works for
brass - all of them except possibly the Gabrieli being new to most ears. The
Metropolitan Brass Quartet was an important part of the renaissance of brass
chamber music...At a time when nearly all brass ensembles were quintets, the
Metropolitan’s had a different sound which was modeled more on the string
quartet and early choral polyphony."
Audiophile Audition ~
October 2007
BOLEN
& DEVRIES PIANO DUO MS1227
"[Two pianists
of one mind - drama delicacy and plenty of fun, too...a well-matched
effort...[Bolen and DeVries'] reading of Brahms' Variations on a Theme By Haydn
highlights the proper melodic and harmonic material at every turn...consistently
propelled forward. A performance of Poulenc's Elegie finds their keyboard attack
melding together to the point that they almost sound like a single pianist,
delicately unfurling the work's quiet intensity in sync. Rachmaninov's Suite
becomes a joyful jam session...these pianists [are] steeped in the composer's
language. Milhaud's Scaramouche is a romp.
Bolen and DeVries are on point
throughout, avoiding overblown, speaker-buzzing thick textures."
Gramophone ~ June 2008
THE
AMERICAN STRING PROJECT – Live at Benaroya Hall 2006 MS1226
"In the first
movement of the Beethoven the targeted attacks of the sforzandos are
particularly virtuosic. The minuet is perfectly poised and the last movement
invigoratingly fleet. This remarkable performance [of the Shostakovich] has a
compelling sweep that might well be envied by many a conventional string
quartet. Three Sarasate pieces...[are] accomplished here with great elan. The
technical values of this live performance recording are superb. Let's hope there
will be more recordings from these imaginative, accomplished musicians."
Fanfare ~ May / June 2008
"[This
is] the best string orchestral playing TC has heard in decades.
Virtuosic not only in precision (parts of the Beethoven finale are reminiscent
of Toscanini's recording of Paganini's Perpetual Motion with the entire first
violin section of the NBC ) but in expressive nuances. If this group ever gets
around to recording the standard string orchestra repertory...the results - if
anything like the playing here - should be spectacular"
Turok's Choice ~ December
2007
"The
American String Project... hums seamlessly through a program of Beethoven,
Shostakovich and Sarasate, both intimate and virtuosic at once.
The Beethoven enjoys a muscular, lithe realization under leader Eriko Sato.
Forward motion is the order of the performance, and the two interior movements
gain authority and girth in the arrangement. The dark, deep colors of the lower
strings add a romantic ethos to Beethoven’s natural tendency to make C Minor a
surging modality of expression. Leader Maria Larionoff shapes the massive
Twelfth Quartet of Shostakovich, whose two-movement structure resembles
Beethoven’s Op. 111 Piano Sonata. Like Barshai’s arrangement of the Eighth
Quartet, Lieberman’s distribution of parts amplifies Shostakovich’s angular
polyphony and sullen, martial pessimism."
Audiophile Audition ~
September 2007
THIS
TIME IT'S PERSONAL – Stephen J. Ketterer MS1225
"The acoustics
are remarkably good, and the organ certainly has the resources for this varied
program...Ketterer plays with an appropriate sense of style...solo reeds are
potent, the strings are quite nice, and the full ensemble well-balanced...Good
recording by a very talented performer."
American
Record Guide, September/October 2007
THOMAS
BALTZAR: WORKS FOR UNACCOMPANIED VIOLIN – Patrick Wood MS1224
"[Baltzar's]
complete music for solo violin, excellently played by Patrick
Wood, is
impressive as well as historically important."
Turok's
Choice ~ June 2008
"The
pieces are...endowed with sophisticated turns of phrase and harmonic
personality. Certainly the discernment and imagination Baltzar invested in his
unaccompanied works were destined to provide curious violinists with ample
technical challenges, as well as musical rewards. Patrick
Wood ...makes a splendid case for Baltzar, playing the collection with graceful
and fervent assurance. His sound is rich and nuanced, his command of the
difficulties complete."
Gramophone ~ May 2008
"Wood's
playing does great justice to Baltzar's works and speaks well of his exhaustive
efforts to unearth them. His playing is very strong and muscular, much like
Nathan Milstein's playing of Bach. Intonation is quite precise, and his voicing
of the polyphonic texture of the music allows listeners to follow the melody
easily as it wends its way through the range of the violin. ...
this album is a welcome discovery of unheard solo violin music performed
convincingly"
All
Music Guide ~ March 2008
MARK
ZUCKERMAN: NEW MUSIC FOR STRINGS – Seattle Sinfonia; Momenta Quartet MS1223
"Zuckerman's
works are...highly accessible;
coupled with the detailed program notes, listeners are carefully guided through
some very enjoyable musical metaphors. The Elegy for Victims of Terrorism, heard
on this CD in both its string quartet and string orchestra versions, is quite
moving and makes the album worthwhile on its own... Sound quality is
appealing...and the ensembles are successful in guiding listeners through some
of the more minimalistic components of the compositions."
All
Music Guide, June 2007
THE
DOUBLE BASS – Robert Oppelt & Friends MS1221
"The
present CD is [Oppelt's] first solo outing on disc; it makes for an
impressive showcase for his talents...[this
CD] is superbly executed by a crew of fine musicians and presented in an
atmospheric and well-balanced recording."
Fanfare
~ September/October 2007
"The
double bass isn't the half of it! The Rossini duo is played with vim and vigor
[and] with a light touch...Oppelt is a fine musician and has put together an
entertaining and unusual program."
American
Record Guide ~ July/August 2007
WILL
AYTON: A RELIQUARY FOR WILLIAM BLAKE – Parthenia; Alexandra Montano MS1216
"a lovely
program...[Parthenia] supply the glistening instrumental backdrop...[In the
Reliquary] Ayton's sense of style, counterpoint and vocal writing are all
expert...Ms. Montano sings expressively and without affectation, which is also a
good way to describe Ayton's music. This is a pleasant, unpretentious surprise, attractively
performed and recorded."
American Record Guide ~
November / December 2007
"Possibly
the most aesthetically cohesive setting of [William] Blake's poetry and prose to
music yet...The
setting of William Blake's verse to music has proved irresistible to everyone
from Allen Ginsberg (ridiculous) and Robin Williamson (sublime) to William
Bolcom (both) and Van Morrison (neither). For sheer consistency and elegance of
tone, however, nothing equals A Reliquary for William Blake. Composed by the
American Will Ayton and performed with passionate delicacy by the viol consort
Parthenia and the mezzo-soprano Alexandra Montano, Reliquary creates a musical
setting for 14 Blake poems that, like the poetry itself, is simple on its
surface but alive with richer goings-on just beneath."
World
Music, June 2007
ANFANGS
("BEGINNINGS") Solo Guitar Recital – Tuomo Tirronen MS1214
"The care with which
[Tirronen] has assembled these pieces, his sense of timing, and his devoted
advocacy create an intriguing experience for the listener. These are thoughtful,
pensive compositions...communicative and evocative...Tirronen
plays with dedication, precision, and sympathy. His performances are dignified,
detailed, and allow everything to sound with maximum impact.
Recommended to those with a taste for exploration."
Fanfare ~ November / December 2007
"In
this fine debut [Tirronen] doesn't tackle so much as finesse his way around a
disc's worth of contemporary guitar repertoire...[On this album] Tirronen has
assembled an arc that seamlessly flows from one composition to the next in the
quietist swash of notes...Tirronen lets beauty have its natural way
while fully
engaged in the language of modern music. What emerges is neither neo-romantic or
New Age but a serious and profound program that asks the listener to contemplate
with almost reverent stillness on the being of sound and the soundness of
being.."
American
Record Guide ~ September / October 2007
REVER
EN COULEURS – Lisa Garner Santa; Gabriel Sanchez MS1213
"I am quite taken
[with this disc]...It is all magnificent music, played with finesse. The flutist
has the kind of tone I prefer - rich, colorful, perfectly in control, and always
in tune. Her phrasing is all well-shaped and thoughtful, just what this elegant
music deserves. Sanchez is an equal partner.
[Garner Santa] is a truly remarkable artist with dazzling musical ability.
Flutists and non-flutists alike should find this wonderful disc. I look forward
to hearing more from this duo."
American
Record Guide ~ May / June 2008
INTO
THE 21ST CENTURY – Jeffrey Powers; Vincent De Vries MS1212
"...performed
with virtuosic flair, emotion and beauty. Jeffrey
Powers is an excellent horn player and musician who plays with apparent ease and
abundant expressive skill.
He and pianist Vincent DeVries play together beautifully - their ensemble
precision is excellent...you
will enjoy this CD."
The Horn Call
~ February 2008
"This
is a wonderful, life-affirming disc that
is expressly not hornist-only territory. Jeffrey Powers is an expressive player
who brings a sense of nobility to the music on this disc. His repertoire choices
are fine ones too. All credit, too, to MSR Classics for getting this music to
the public view. In short, an excellently presented and performed disc preserved
in stunning recorded sound."
Fanfare ~ November /
December 2007
DIVINE
HARMONY: TELEMANN SACRED CANTATAS – Patrice Djerejian; ECO / Sir Philip Ledger
MS1211
"Djerejian
again impresses through her ability to move her weighty voice with agility and
for her capacity for expressing the varying moods of her texts... Ledger's
leadership from the keyboards is predictably deft...an
appealing Telemann package..."
American Record
Guide ~ January / February 2007
"Contralto
Patrice Djerejian builds on the success of her earlier all-Handel release Love
Lost and Found [MS1091] with Divine Harmony, a program of rarely heard sacred
cantatas by Georg Philipp Telemann... In these cantatas, typically consisting of
two florid arias with a soberly meditative recitative in between, Patrice
Djerejian gives a good account of herself in the Baroque decorations that
embellish the vocal line, underscoring the intent of the verse...an attractive
program."
Atlanta
Audio Society ~ September 2007
FRANZ
LISZT: ROMANTIC WORKS FOR PIANO & ORCHESTRA – Joshua Pierce MS1210
"Pierce's own 'fabulous
technical virtuosity' is on thrilling display..."
World Magazine ~ June 2008
"...spectacular."
Turok's Choice ~ June
2008
"... I'm
a huge fan of pianist Joshua Pierce,
and danged if he hasn't convinced me...that the Rhapsodie Espagnole is
worth my time. As for Schubert's Wanderer Fantasy, no convincing was
needed. Both Russian orchestras are excellent."
CD HotList for Libraries ~
March 2008
SCHOENBERG:
Pierrot Lunaire; Brettl-Lieder– Jennifer Goltz MS1208
"This
is a most judicious pairing...[the Brettl-Lieder] are lyrical and
accessible...[they] take a highly stylised and sophisticated approach to the
double entendre, symbolism and eroticism of the texts. Soprano Jennifer Goltz
sings them as such. One can almost imagine her on the stage of a smoky cafe,
teasing the crowd with suggestive gestures and entrancing patrons with a voice
full of subtle allure and sprightly energy. On disc, she is captivating enough.
The connection [between the Brettl-Lieder and Pierrot Lunaire] seems to have
informed Goltz and the performers of the slyly named ensemble, Inauthentica, as
well. She is brilliant
again, and the California-based ensemble present Pierrot as if they had played
it night after night in a theatre. It's a charged performance;
with all the musicians acting like characters themselves in the twisted tale.
While you get more value with other Pierrot recordings paired with Schoenberg's
more famous music, this disc is a preferable way to enter that 20th-century
masterpiece."
Gramophone ~ July 2008
"... The
idea of pairing the wonderful Pierrot Lunaire with [Brettl-Lieder] is a stroke
of genius. Jennifer Goltz makes a fine swipe at both of these works, her Brettl-Lieder
being among
the best, and she knows how to
sell the work...Goltz brings a certain sense of the non-clinical to [Pierrot]
that is very attractive. Fine sound, excellent performances from a surprising
source, and one to be commended."
Audiophile Audition ~
June 2008
THE
SCHUBERT RECORDINGS, Volume I – Joshua Pierce MS1204
"[Pierce]
applied his mind and heart to every phrase. Nothing is straightforward;
everything is interpreted, and there's a reason behind every gesture.
It is nice to hear such
thoughtful playing..[Pierce's Schubert]...is sweet-natured and easy-going rather
than temperamental. Tempos are not ponderous...in the Moments Musicaux Mr.
Pierce phrases things beautifully, and theres even some atmosphere - some poetry
to add to the meaningful prose..."
American Record Guide ~
November / December
2007
"Pierce's
interpretations of Schubert's B-flat Sonata and Moments Musicaux convey
undeniable enthusiasm, energy and sincerity...[a] gifted, charismatic pianist...Pierce's
driving left hand generates gripping momentum in [Moment] No.5. Note, too, the
eloquent lyricism he brings to No.4's Trio and the second and sixth
pieces...Simplicity and beauty also distinguish his well proportioned account of
the Allegretto. MSR's
excellent engineering accurately mirrors the dulcert, singing sonority that
Pierce carries with him from concert to concert and piano to piano"
Gramophone ~ October 2007
"Two
generations ago this all-Schubert recital would have been one by Artur Schnabel.
Joshua Pierce... plays
the posthumous B-flat Sonata in a literalist, non-pedantic style, with a
fine sense of the dramatic rumbles and pauses that afflict Schubert's pointed
thoughts on emotional loss. If Pierce's playing reminds me of anyone else's, it
is Claude Frank... Pierce handles the agitated triplets and harmonic shifts in the
first movement smoothly and on a large scale... Pierce evokes a high, tense
singing-line, and he projects the intricate left-hand bass harmonies without
forcing them...The A
Major spun-out melody by Pierce quite sings a song worthy of Keats... When Pierce wants the golden hammer, he uses
it, only to transform the percussion into silver bells... Pregnant
pauses, an outburst of passion, and attention to harmonic colors [in Moments
Musicaux] set Pierce's
rendition along some fine realizations, not the least of which is that by Rudolf
Serkin on CBS."
Audiophile
Audition ~ July 2007
"Pianist
Joshua Pierce gets off to
a great start in Vol. 1
of what promises to be a series of Franz Schubert’s piano music... He
approaches the opening movement of the [B-flat] sonata in a straightforward
manner, preferring to capture the abundant beauties en
passant, without too much fuss... There is a fatalistic current underlying
the most innocent melodies...and Pierce is sensitive to its presence."
Atlanta
Audio Society, March 2007
COMMANDING
STATEMENTS: Chamber Music for Trumpet - Peter Wood & Friends MS1203
"Wood
is a tasteful player with a consistently full, pure, and pleasant tone quality.
This is a fine program, well prepared and executed."
American Record Guide ~ March
/ April 2007
BACCHANALE:
Music for Trumpet & Bassoon - Guy Few & Nadina Mackie Jackson MS1201
"Guy
Few is a versatile musician whose work as a trumpeter and pianist have earned my
praise more than once. I
am more impressed than ever, and I hope he continues to record. Ms.
Mackie Jackson has a dark, burnished tone and a sensuous way of playing
that makes the bassoon seem like a more modern instrument than is often the
case. Fine support by Kevin Mallon and the Toronto Chamber Orchestra; excellent
sound."
American Record Guide ~ March
/ April 2007
"... in a
performance as fine as the one recorded here [the Hindemith is] worth a
listen... The rhythmic quirkiness and witty lightheartedness of [Bacchanale's]
second section make it a fun piece that deserves wider exposure... The disc is
filled out with arrangements of two short Shostakovich character pieces that are
the highlights of the album. Few
and Jackson play with polished tone, immaculate intonation, and infectious high
spirits; it's obvious
they're having a blast."
All Music Guide ~ November
2007
"...stunningly
beautiful in every way...pure
virtuosity by both instruments...gorgeously together and breathtakingly in
tune...."
The Double
Reed ~ April 2007
BEETHOVEN:
COMPLETE PIANO CONCERTOS – Joshua Pierce / Bystrik Rezucha MS1200
"Joshua
Pierce is an excellent pianist [with a] lightness of touch that doesn’t
preclude a sonorous tone and a flexible, even playful approach to phrasing that
never pulls the line out of shape...As
for the standard concertos, Pierce’s work is consistent... He and
conductor Režucha maintain tempos at a good clip...but they don’t rush the
music...Pierce
plays with energy, substance, and fullness,
without feeling that, because this is Beethoven, he must hammer the klavier.
The Slovak State Philharmonic pulls
through professionally, with the conductor insisting on crisp playing in terms
of tempo and articulation...
Salzman contributes smart liner notes...[Pierce's] performances of the Big Five
stand high among other recent efforts."
Fanfare - September/October 2007
"The
American's bravura is polished and often fearless...this
more-than-complete set has much to offer...a technically stellar, exuberant and
often illuminating traversal...[the Concerto in E-flat] is well played by
Pierce, expressive yet keeping within Classical parameters...[in the Concerto
No.2] Pierce's playing is energized and brilliant with nice shade in the
cadenzas. The soloist is equally sensitive in the Adagio...Pierce brings wit to
the rather oddball original Rondo of No.1, bringing out the insistent staccato
humour and finessing the mercurial shifts...In the First Concerto proper,
Pierce's light-fingered articulation is well suited to early Beethoven and again
the cadenza is superb, spun out with sparkling virtuosity and phrasing that
leads the ear on...In the slow movement, Pierce floats the main theme in a
natural way...[the] fast tempo and vivid articulation are scintillating...an
exhilarating performance...[In No.3] the cadenza is again dazzling...The Largo
is refined and elegant...[Pierce shows] speed and brilliance...[In the G major]
the playing is faultless...[In the Emperor] Pierce is at his finest, with fleet
yet bracingly vital and vividly characterised solo playing. [In this set]
the
performances are never less than involving, technically commanding and
delightful."
Gramophone
- June 2007
"Joshua
Pierce...proves an exciting pianist in classical repertory.
The fast movements bristle with excitement, giving the strong impression of
concert performance...Pierce and company produce some exciting Beethoven. [In
the earlier works] Pierce's no-nonsense approach and clear, detached fingerwork
make a fine effect. [These recordings] have much to admire..."
American
Record Guide, March / April 2007
"How
does Joshua Pierce play Beethoven? How is it different? What’s magical about
it? Is it the emphasis on rhythmic groupings, creating timbre with rhythms, or
the utter lack of exaggeration, the fluidity, the simplicity, even? ... [The]
special quality of balanced self-expression is what makes Joshua’s
interpretation unique,
in its unpretentious but dazzling clarity. No exaggeration here, no excessive
rubato or aggressive dynamics. It makes Beethoven’s music come through exactly
as it did historically, somewhere between Mozart and Schubert.""
Sequenza
21, February 2007
"Beethoven's
complete piano concertos...are strikingly played by Joshua Pierce with involved
accompaniments by the Slovak State Philharmonic under Bystrik Rezucha...yet
another version of these concertos must offer something special to be
competitive, and this set does - Pierce's unceasing energy and his uncanny sense
of rhythm. The finest performers manage their accelerandos and ritards
so that there is an eventual compensation that evens out the musical flow from
time to time. For Pierce, this sort of compensation is constantly at work; it
becomes central to his interpretations, which take on tension and excitement
accordingly, illuminating this familiar music in an unfamiliar way. Technically,
Pierce is impeccable...If
your collection does not contain these pieces, the set can serve as a fine
introduction; as an alternative to more standard interpretations, it makes a
fine second version."
Turok's
Choice, December 2006
THE
END OF THE MATTER / Eric Berlin & Friends MS1199
"Eric
Berlin has all the elements one expects from a trumpet player -
boldness, big sound, impressive technique - as well as the things that make a
complete musician: tonal variety, ability and willingness to blend, and
expressiveness. Eduardo Leandro is a superb percussionist...Lynn Klock is a very
good player..."
American
Record Guide ~ January / February 2008
"At
the risk of succumbing to too much optimism, one can imagine the
"spacey" feel of Berlin’s performances’ introducing
progressive-rock fans arrested by the gimmick-laden but musically accomplished
likes of Keith Emerson and Walter/Wendy Carlos to the deeper, wider worlds to
which their more serious moments point."
World
Magazine ~ January 2008.
PAUL
LUSTIG DUNKEL - IN RECITAL / Peter Basquin MS1198
"I
admire the courage to release an unadulterated recital like this...the raw power
of the performance, the audible joy of sharing great music, and the sound of a
receptive audience...give us a
truly rewarding experience...Bravo."
American
Record Guide ~
September / October
2007
"Dunkel's
transcription of [the Debussy] almost makes it sound as it if was originally
conceived for the flute...Dunkel
dispenses [the virtuosic Briccialdi] with no apparent effort"
WILLIAM
BOLCOM: WORKS FOR VIOLIN & PIANO / Renata Artman Knific; Lori Sims MS1197
"the present
beautifully engineered performances are persuasive in almost every respect, and
have deservedly earned the enthusiastic imprimatur of the composer. Knific and
Sims bring a tremendous range of characterisation to these highly accessible
works..."
Performance: 5 Stars /
Sound: 5 Stars
"Renata Knific and
Lori Sims ... collaboration in three of William Bolcom's violin sonatas bears
the imprimatur of Bolcom himself, who wrote the notes. Knific and Sims play [the
First Sonata] with crackling, edgy energy in the more extroverted passages, and
they bring an uneasy calm to the more meditative ones. Knific's
tone
remains confidently strong in
the upper registers, upon which Bolcom frequently calls... Their rhythmic zest
in the finale brings the Sonata to a more traditional-sounding conclusion than
the earlier musical materials might have led a listener to expect... The duo's
rhythmic incisiveness [in the Second Sonata] help defines the character of each
of these disparate movements... Knific and Sims play [Graceful Ghost] more
impudently and more slyly [than Shaham] so that the frequently recurring theme
doesn't quickly wear out its welcome in the middle. The engineers have captured
the performers close up, with especially strong effect at the end of the Fourth
Sonata. Recommended principally to those who admire the music of Bolcom, but
everybody should enjoy at least the rag."
Fanfare ~ January/February 2008
"For anyone
unfamiliar with the violin sonatas of William Bolcom, or who has heard them but
do not own this particular recording, stop what you're doing and buy it.
Violinist Renata Artman Knific and pianist Lori Sims...offer an astonishingly
commanding and engaging performance of the "Second,"
"Third," and "Fourth" sonatas. MSR's recorded sound on this
CD is especially clear, allowing every note to be heard in even the densest,
most aggressive passages. Intonation is all but flawless, and Knific's sound
varies easily between the savage and the sweet. Her palate of tone colors is
seemingly endless. Sims' piano playing is equally vibrating and varied. The
cleanliness of her playing is remarkable considering the demands Bolcom makes of
the pianist. Together, Knific and Sims perform as if they were a single
instrument. They match each other's temperaments, articulations, phrasing, and
character in a way usually associated with duos that have been playing together
for decades. This
CD is absolutely a necessary addition to virtually any collection and is
recommended without reservation."
All Music Guide ~ October
2007
RONDO
BRILLIANT – Joshua Pierce / Slovak State Philharmonic Orchestra / Rezucha
MS1196
"The
world of pianistic extravagance is boldly served on this new disc...in which the
soloist has ample opportunity to demonstrate agility, athleticism and sheer
artistic chutzpah. Each piece has charming music amid the pyrotechnics...Joshua
Pierce, once admired mainly for his advocacy of new music, is an inexhaustible
champion
of these luxurious showpieces, he has the facility to tame every technical beast
and clarify the thickest of textures...Bystrik Rezucha and the Slovak State
Philharmonic Orchestra give their colleague warm, vivid support."
Gramophone, July 2007
"Pianist
Joshua Pierce has assembled a quintet of virtuoso concert works by a diverse set
of Romantic composers, a series...certainly demonstrative of digital
prowess...[The Weber] finds in Pierce
a passionate advocate of
its several labyrinthine episodes...Exuberant and self-assured, [Mendelssohn's]
Rondo emanates a jaunty air as it cascades to a fiery conclusion that has Pierce
exhibiting powerful 16th-note triplets and octaves in regal fashion."
Audiophile Audition, June 2007
"Pierce
is a fine player..[he] plays with great
rhythmic vitality and energy...his
passagework is crystal clear."
MusicWeb International, March 2007
"Pierce
plays viruosically;
his interpretations are as enjoyable as the music..."
Turok's
Choice, February 2007
"[Rondo
Brilliant] is an imaginative blend of early romantic works for piano and
orchestra...Pierce makes [the Hummel] a heady romp, handily rivaling [Chandos
artist] Howard Shelley in agile fingerwork and leaving sprawled in the dust both
Klaus Hellwig on Koch and Rudolf Macudzinski on a Fidelio LP...Pierce simply
plays the hell out of it [with] crystal clear tone...In the Mendelssohn, Pierce
once again goes to town - it's an exhilarating affair, yet entirely at the
service of the music...The Reinecke is a real find! Pierce responds with solid
tone and an affecting gravitas, well supported by the Slovak players...this is a
major addition to the romantic piano literature...Pierce's buoyant approach [to
the Czerny] adds to the fun...there's more than enough here to recommend this
one"
American Record Guide ~
September/October 2006
TEACHER,
TASKMASTER, FRIEND – Alpin Hong MS1195
"[Alpin
Hong] offers vibrantly etched performances...He
casts a keen ear for textural clarity and structure on Bach's Chromatic Fantasy
and Fugue, even within lavish sonorities that bask in the concert grand's many-splendoured
possibilities...To Mendelssohn's Rondo capriccioso Hong applies the nimblest of
touch, finding the lilting and brilliant qualities in the scampering material,
while also lingering sensitively in poetic passages...He shapes Mendelssohn's On
Wings of Song with utmost attention to lyrical tenderness...he treats
Ginastera's Danzas Argentinas with equal degrees of fierce bravura and finesse.
The zesty and nostalgic urban aura of Gershwin's Rhapsody in Blue seems
tailor-made for Hong's combination of rhythmic gusto, affection and gleeful
attack.."
Gramophone ~ September 2007
"Mr.
Hong takes the opening of the Chromatic Fantasy and Fugue as slowly and
deliberately as ever I have heard anyone play it--so he caught my attention
immediately. He spins the entire work out for twelve minutes, which must be
among the broadest of conceptions. That Hong can play the brisk staccati at
breakneck speed when he wants to only certifies the highly improvisational
concept he has of the piece... The Rondo capriccioso of Mendelssohn gives full
vent to Hong's color capacities in bravura style.
The wicked fioritura and broad
spans deter Hong not at all, and the coda comes off in a style reminiscent of
Jorge Bolet. Liszt's lovely, extended nocturne after Lamartine, his Benediction
of God in His Solitude, finds in Hong a natural exponent for its liquid
brush-stokes...The Danzas Argentinas engage Hong in another form of
nationalistic virtuosity... The concluding Dance allows Hong to indulge his
capacities for percussive savagery...[In] Gershwin's Rhapsody in Blue [Hong]
manages to punch and to coax enough multifarious colors from his instrument to
engage and to seduce our feet to tapping and our heads nodding in sympathetic,
stride rhythm."
Audiophile Audition, May 2007
AEGEAN
COUNTERPOINT: Chamber Music of NICKITAS DEMOS
MS1193
"[Demos influences] lend
color and atmosphere to his writing...There is an attractive variety of moods
here, and Demos works with breadth, working out one mood before contrasting it
with another...Demos clearly has something to say...."
MUSIC
FOR LOUIS XV - MICHEL DE LA BARRE – John Solum & Richard Wyton MS1191
"...well-written
notes...well-crafted and beautiful suites...John
Solum and Richard Wyton, two extraordinary musicians I have praised in the past, are the ideal performers
for this music. Their phrasing, articulation, and overall graceful approach make
this music sparkle and sing. There is never a dull moment. Flutists with limited
knowledge of this period should find this, and anyone who enjoys elegant music
play with style will enjoy it"
American Record Guide ~ November / December
2007
SONGS
AMERICA LOVES TO SING – Atlanta Chamber Players MS1190
"[a]
superb ensemble...Mozart's Kegelstatt Trio is given an elegant, amiable reading;
it sounds like a fluid conversation between old friends, which is exactly what
Mozart intended...Paula Peace's piano solo in 'What A Friend We Have In Jesus'
has great spirit...Christina Smith plays with joyful brightness...The recording
has a warm ambience ideal for chamber music....This
is a highly graifying recording, offering variety and splendid playing."
American Record Guide
~ January / February 2008
"The
Atlanta Chamber Players [play the Harbison] with great
delicacy and flair..."
CHRISTOPHER
ATZINGER DEBUT MS1189
"...[Atzinger]
is blessed with abundant energy, powerful fingers, a big sound and natural
musicality. He makes the
best possible case for Gregory Fritze's well made...1989 Sonata, moulding the
jagged, proclamatory unison motifs and fuill-throated chords in contrary motion
with immense authority, taking great care with the slow movement's
inside-the-piano strumming and plucking...Atzinger more than holds his own
against the Barber Sonata's finest recorded practitioners (Horowitz, Cliburn,
Browning and Wild)...Atzinger benefits from MSR's warm, roomy and most
attractive engineering."
"Here
we have a pianist not only with the technique, but the brains to put all of this
together. Please don't think that this is a purely academic recording - the
virtuosic bravura on display here is visceral. [Fritze] has written a very
enjoyable work and couldn't ask for a better performance. There
are no weak moments [in this release], only wonderful music-making. Christopher
Atzinger is surely a pianist to keep a watch for."
"After
a solid presentation of the Bach…Atzinger instigates a serious, measured
realization of Beethoven’s A Major Sonata...The aggressive march has Atzinger
throwing sparks, glitter, and occasional thunderbolts...The Barber Sonata
seems to be an Atzinger calling-card, with its high-flown, percussive lyricism.
Atzinger bestows upon the opening Allegro energico the same taut, hard-edged
patina we know from the Horowitz and Browning versions of this piece. The second
movement Scherzo might be Barber’s equivalent of a Liszt etude,
according to Atzinger’s playful fingers. The fugal last movement has Atzinger
in molten form, providing ardent, scintillating evidence of his technical and
sympathetic commitment to this music."
Audiophile Audition ~
February 2008
LEONARD
PENNARIO: THE EARLY YEARS 1950-1958 – 4CD Set MS1188
"...[Pennario's]
virtuosity left colleagues and admirers slack-jawed with envy and admiration......[the Mussorgsky is] bold and incisively
characterised...Visions
Fugitives are brilliantly alive to all of their flashing whimsy... lavishly
presented and brilliantly re-mastered, make for a superb souvenir of a very
special time in Pennario's long and glittering career."
Gramophone International
Edition ~ June 2007
"Recommended."
Fanfare -July /
August
2007
"[This
retrospective] is long overdue...The [Chopin] Sonata is excellent...like
everything in the collection, played to near-perfection...[the Polonaise] is as
sweeping and grandiose as I gave ever heard...I have never heard a more
satisfying rendition of the Schumann...[Liszt] to dazzling effect...[Mussorgsky]
is one of the most colorful, well-structured performances around...Pennario's
versatility and skill [in the Visions Fugitives]...[Bartok] dispatched with all
the panache Pennario was known for...[Rozsa's Sonata is] the summit of the
collection...[it is] the greatest recorded performance of any Rozsa work...Ravel's
Miroirs are projected with crystal-bright clarity...Alborada del Gracioso is
brilliantly done...Pennario's radiant colors and irresistible momentum may make
you momentarily forget there is an orchestral version [of La Valse]...Those old
Capitol vinyls never sounded as good as these remasterings...a
collection that should be welcomed by every pianophile."
American Record Guide - May /
June
2007
"...Chopin's
B-flat minor Sonata stands out in the Scherzo for Pennario's rhythmic
verve and secure marksmanship...you
can infer Pennario's sense of long line and sensitively shaded soft playing in
the Franck...Pennario delivers a serious, concentrated, fastidiously
prepared, and intelligently paced interpretation [of the Mussorgsky]...Pennario
taps into ]Prokofiev's] lyrical beauties that sometimes elude other
pianists...energetic, sparkling readings of sonatas by Bartók and Rózsa
further reveal Pennario's affinity for the music of his time. For surface sheen
and suave fingerwork alone, Ravel [works] command respect..."
Classics Today - March
2007
"The
importance of this set cannot be emphasized highly enough!"
H&B Recordings Direct
- March 2007
"For
many fans of the piano, Leonard Pennario: The Early Years 1950-1958 will
represent the fulfillment of a wish held for a long, long time — availability
on CD of a pianist who once sold millions of records and was practically a
household name in the United States at one time...The
music flows off the page and appears as though spontaneously created; you don't
think of how he executes it, it's simply there...Pennario's
steely, efficient Prokofiev, his indescribably jazzy Bartók Sonata, his
definitive reading of the Miklós Rósza Sonata — these were pieces in which
Pennario was matchless. His technical transparency in the Ravel Gaspard de la
Nuit is literally out of step with history — pianists of his era really didn't
have that piece under their fingers, and truly accurate performances of the work
are a late twentieth century phenomenon. However, Pennario had it down and was
the only pianist of his time who could play it well."
All Music Guide - March 2007
"Sound
quality for these [remastered] mono recordings is supremely better than any of
the original LPs that I compared and give new life to Pennario's
incredible pianistic art."
Lance Hill, Classical Music
Guide - March 2007
THE GRAND TRADITION – Richard
Morris Plays the A.E. Schlueter Organ MS1187
"The
repertoire was well-chosen to demonstrate both the finesse and power of the
finished instrument...The recording is gratifyingly warm and registers all lines
clearly, no matter how complex the musical texture or extreme the dynamic
compass. The quieter music is nothing short of ravishing. Morris is wholly
convincing in each of the stylistic subsets found on this offering. He
finds the right tempo for each piece and demonstrates a fine command of
registrational color."
"Each
work is filtered through the distinctive romantic character of the Schlueter
organ …The final piece…shows Morris and the organ to perfection. If you
enjoy the sound of the American symphonic pipe organ from the 1940s and 1950s
then buy this disc. Richard Morris
displays a superb technique, coupled with a dazzling control of the tonal
colours provided by the organ."
"[Richard
Morris] plays with great note accuracy."
American
Record Guide ~ November / December 2007
THE
CHAMBER MUSIC OF KERRY TURNER – Rotterdam Philharmonic Chamber Soloists MS1186
"...those
who dare to try the new will awaken to the delights of Kerry Turner's
music...finely crafted short structures and delicious sonorities...[The
Berceuse] is a delightful, well crafted piece...The Horn Sonata is given a
supremely assured performance...The virtuosity of all four parts [in the
Quartet] is breathtaking (raid fire articulation is astonishingly clean), as are
the stunningly accurate rhythmic unisons...[The Rhapsody] is the finest work on
the disc...Wide-ranging in its emotional world...A
fascinating disc. Performance standard is uniformly high...Recording standards
match them."
Fanfare
~ September / October 2007
"The
readings by members of the Rotterdam Philharmonic are energetic and highly
skilled."
"Turner's
work provides a wonderful collage of colors..."
The
Horn Call ~ May 2007
EXULTATE:
Organ Music of Daniel Gawthrop - Mary Mozelle MS1185
"[Gawthrop]
has produced a substantial body of work for the [organ]...Gawthrop's writing for
the organ is always effective...Its style is conservative and eclectic...[Mary
Mozelle's] performances leave nothing to be desired in
technical polish and control, while the recorded sound captures the warmth and
clarity of the instrument."
American
Record Guide ~ July/August 2007
THE
ART OF THE POSTHORN – Douglas Hedwig MS1184
"...a
wonderful recording...Hedwig's
performance radiates music,
even through the most challenging registers and passages...he is an excellent
posthorn player in every sense...and Jorge Parodi performs his piano reductions
masterfully...this CD is a must-own."
ITG
Journal - June 2007
VIRTUOSO
HORN DUO – Kerry Turner & Kristina Mascher MS1181
"...
the music is all quite wonderful, as is the playing by both Turner and Macher. Recommended
to all classical collections."
ITG
Journal - June 2007
"...all performed
exquisitely...the balance and
artistry of both players is most effective..."
The
Horn Call - May 2007
THE
20TH CENTURY CLARINET CONCERTO – Gary Dranch MS1180
"Dranch
performs [the Wolff] beautifully with an ease and effortless quality that
matches the style of the work exquisitely. The string ensemble is clear, clean
and crisp throughout. Dranch's sound is amazingly dark and without edge even in
the altissimo. Dranch's perfect intonation and control in the slow sections [in
the Bavicchi] is notable and the performance by soloist and orchestra alike is
admirable...[Hindemith's Concerto] is a welcome conclusion to this CD...Dranch
is highly musical throughout...He seems keenly aware of the neoclassical
influence, and injects them in his interpretation. Dranch is precise and
reserved...The orchestra is immaculately clean throughout this work. I recommend
this recording as a worthy addition to the contemporary clarinetist's audio
library....there is something for everyone here, and then some. Gary
Dranch is supremely adept at handling the technical and musical challenges that
arise
in these works."
The
Clarinet, March 2007
JS
BACH: THE GOLDBERG VARIATIONS – H-K Juhn MS1179
"Juhn's
playing is sensitive and imaginative...She
has a fine sense of style and plays with a command of the 18th Century language
I find much less common among pianists than harpsichordists...She shines in the
careful nuance of the slow ornamental variations...She is also up to the task of
the technically demanding variations. She executes the hand-crossing with
apparent ease. The quality of the sound is very good."
American
Record Guide ~ September/October 2007
"As
a Bach player, [H-K Juhn] has obviously devoted much thought to how she wants to
approach the Goldberg Variations...her acumen for voice leading lends impressive
clarity...The engineering is excellent."
Records
International, February 2007
RICHARD
HOWARD: PRAIRIE VISIONS – Richard Howard MS1178
"A
seven-movement suite of unashamedly programmatic content and full-blooded
Romanticism, this is a very personal statement by a composer-pianist obviously
well versed in the traditions of grand pianism. Emotionally
charged and full of bravura pianism,
stopping just short of sentimentality (most of the time, ŕ la Percy Grainger),
the most obvious inspiration and comparison for Howard’s style is Rachmaninov...the
piece has an innocent and heartfelt quality which, along with the excitement
generated by its thunderous virtuosic passages, render it entirely convincing on
its own terms."
Records
International, February 2007
J.S.
BACH & GABRIELI: Cello Works – Benjamin Whitcomb MS1177
"Whitcomb is a
fine player... a member of the Ancora String Quartet. He
has a large tone, good clean technique, and is bolstered by a fine sound
on this recording...The addition of the highly virtuosic and first-ever works
for solo cello by Gabrieli make a...favorable bonus."
RACHMANINOV,
RESPIGHI & CASELLA – Joshua Pierce / Anton Nanut MS1176
"...an
energetic revisiting of a standard of the repertoire, as well as an introduction
to two splendid works that may not have been heard elsewhere...The Rachmaninov
is easily the fastest rendition in memory. While some performers may falter with
such ambitious tempi, Pierce thrives. Every note is clearly articulated even in
the most bravura passages. Each variation flows naturally into the next and by
the last three, Pierce
has the listener at the edge of his/her seat
wondering if he can keep the fireworks. The RTV Symphony ably keeps the momentum
going...Respighi was a master of variety in color, mood, and evocation. The
Toccata for Piano and Orchestra is no exception, making it puzzling why this
piece is not heard more frequently. Pierce and the RTV deftly handle the many
changes in mood from the grave beginning, to the scintillating and whimsical end
sections, and the extended lugubrious, brilliantly executed cello solos...The
outer movements of the Casella Partita for piano and orchestra are rambunctious
and bombastic...A lesser pianist may quickly lose the listener's interest, but
Pierce manages to pull it off..."
All
Music Guide, November 2006
"Pierce's
impressive Paganini is coupled with...important large-scaled but rarely-heard
works by Respighi and Casella...Marvelous piano playing
and fine accompaniments..."
Turok's
Choice, October 2006
DVORAK
ARRANGED FOR WINDS – Windscape Wind Quintet MS1175
"...superbly
played by violinist
Daniel Phillips, pianist Jeremy Denk and Windscape, a top notch quintet. The
arrangements are very skilful. The music is wonderful and pleasant to hear..."
"Once
you've heard the opening theme of the Quintet played by David Jolley's horn,
there's no going back. It
captures the whole tenor of a Romantic century in a handful of notes...these
well-balanced tapes project Windscape, and also Denk's piano in lifelike
fashion...Philips plays the violin Romance beautifully, and passionately. The
Quintet interpretation is positive, dramatic, and involving..these are vigorous,
pioneering accounts. Great fun, stimulating, and recommended."
Fanfare
~ March / April 2008
"[David
Jolley's] transcriptions are sensitive to all the nuances, dynamics, and
character of the originals. Windscape is a very versatile ensemble and performs
with the mindset of a string quartet. An exceptional ensemble like this one can
bring out nuance and character in the music that only the new instruments are
capable of. This is most
certainly a recording you should add to your collection."
"Featuring lovely transcriptions of Dvorák... this disc will be at once familiar and surprising to Dvorák fans. It is also on the short list of the most beautiful recordings of Dvorák's chamber music for winds...The players of Windscape are all first-rate soloists and equally adept ensemble players, blending and balancing with an ease and musicality on par with the best string quartets. Pianist Jeremy Denk and violinist Daniel Philips prove to be superb partners as well. Produced, engineered, edited and mastered in utterly natural sound by Richard Price, this disc is as good as it gets in the woodwind world."
All Music Guide ~ October 2007
SWEET
IRRATIONAL WORSHIP – Chad Runyon & Jacqueline Chew MS1174
"To
all of these songs, Niles applied subtle touches...Chad Runyon...shapes each
song as if it were a miniature tale being freshly recounted...Runyon's attention
to the melding of words and music is sure. He teams seemlessly with pianist
Jacqueline Chew, who points out nuances in Niles' writing with fine control and
vibrancy."
Gramophone ~ Awards Issue 2006
ROMANCE
& CAPRICE – Frank Morelli & Gilbert Kalish MS1172
"...this CD is a
treat all around. [Morelli's]
playing is unimpeachable.
Underneath the elegant phrasing and seamless legato, he still lets the
instrument speak in its own voice and personality; the rustic core happily
remains, rather than being airbrushed into shallow respectability. Kalish
continues to carry the standard for true collaborative pianism, the ensemble
tight but the conversational rhetoric loose and spontaneous."
Sequenza 21 ~ July
2007
"The pieces
Frank Morelli has programmed display the soul of this instrument very well...Morelli
performs [the Schumann Romances] with a spell-binding sotto voce...Morelli's
recording [of Saint-Saens' Sonata] has what is wonderful about American-style
playing: there is
great breadth and expanse to his sound...Morelli's
sound [has] affectionate warmth and flexibility...Rossini's arias...are
spectacular...[Morelli and Searing] offer a fly-by-the-seat-of-your-pants
performance....Morelli's [recording of the Weber is] quite the spectacle...The
adaptation of Rachmaninoff's Vocalise is the soul of this recording. Every note
seems to lay bare the music, and each note resonates from the very core of the
instrument...Morelli's sensitive, robust, and warm sound, and Gilbert Kalish's
very fine piano playing breath life and passion into these works. This is music
that holds appeal to a wider audience than bassoonists or wind music
aficionados."
American Record Guide ~ May /
June
2007
"Bassoonist
Frank Morelli and pianist Gilbert Kalish collaborate on a delightful disc...
Weber’s Andante e Rondo Ungarese is a minor masterpiece. Of the arrangements,
pride of place goes to the Gebauer/Morelli excerpts from the Barber of
Turok's Choice ~ March
2007
CORRETTE:
Music for Solo Bassoon – Musica Franca / Nadina Mackie Jackson MS1171
"The
members of Musica Franca are exceptionally talented musicians...the
music will succeed in drawing the inquiring listener into the performers' world
by way of interpretations that are exemplary in every way...the colloquy is
outstanding and the fastidious attention to the most minute details is
enviable...these are interpretations that sparkle with enthusiasm and showcase
the performers' dedication to the repertoire. No question, this is an
adventurous and outstanding outing and one that is probably not going to be
duplicated by any other label in the near future."
Fanfare ~ July / August, 2007
"Holy
Mackeral! Every time bassoonist Nadina Mackie Jackson comes out with a new CD I
have to 'revise' the standards by which I evaluate bassoon recordings...always
to a higher standard in her case!
This is one of the most delightful recordings
I have ever heard....delightful interpretation, phrasing and ornamentation by
consummate artist Nadina Mackie Jackson...What a delight it is to hear how she
can make the music 'dance' for your ears! ...absolutely perfect ensemble
playing...crystalline harpsichord accompaniments...This wonderful music is
performed with just the right amount of elegance throughout - it is an absolute
thrill to hear...Everything is so beautifully handled in this record, from the
musical interpretation, balance, recording technique, sound presence...Exquisite
programming as well! I simply can't say enough positive about this CD. You must
all get it and enjoy it as much as I have"
RATING: 5
CROWS!!! Ronald Klimko, The Double Reed ~ July, 2006
"The musicians...provide striking contrasts in timbre and texture. The results are delightful. The hybrid melding of modern and period instruments works beautifully, especially give th