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Presto's Pick of the Week

Bliss is Presto Classical's Recording of the week!

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Ralph Couzens Interview

Presto interviews Managing Director Ralph Couzens

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Disc of the Week

Smyth's Mass in D on BBC 3's Record Review

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Gramophone Nominee

Doric String Quartet's Britten/Purcell shortlisted!

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SoL's Triumphant Return!

John Wilson re-establishes SoL with Korngold release

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LPO's New Conductor

Edward Gardner to be next LPO Principal Conductor

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A Life in Music

Marking 100 years since pioneer Tommy Reilly's birth

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Landmarks

40-disc Anniversary Box Set is now yours to explore

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Thanks for all your support and congratulations

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Sue Revill

(1955-2019) An irreplaceable friend and colleague

A Tribute

Tasmin Little Honoured

Tasmin Little awarded Personality of Year at BBC

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“… masterly, richly inventive Mass … The Credo and the Gloria (placed last!) blaze, the Sanctus and Benedictus (soprano solo and women’s chorus) are tender and beautiful.”

“… masterly, richly inventive Mass … The Credo and the Gloria (placed last!) blaze, the Sanctus and Benedictus (soprano solo and women’s chorus) are tender and beautiful.”

David Cairns – The Sunday Times (Culture magazine) – 10 November 2019

Album of the Week

“… As Weber’s virginal bride, Agathe, the Norwegian soprano [Lise Davidsen] gives her finest performance to date, both arias sung with a big, radiant voice, but always lyrically. She is well matched by Sofia Formina’s perky Annchen … Janowski conducts Weber’s masterly score with atmosphere and the choir are thrilling in the Huntsmen’s Chorus.”

Album of the Week

“… As Weber’s virginal bride, Agathe, the Norwegian soprano [Lise Davidsen] gives her finest performance to date, both arias sung with a big, radiant voice, but always lyrically. She is well matched by Sofia Formina’s perky Annchen … Janowski conducts Weber’s masterly score with atmosphere and the choir are thrilling in the Huntsmen’s Chorus.”

Hugh Canning – The Sunday Times (Culture magazine) – 10 November 2019

“The direction is good, if not always as vivid as might be. Seggelke allows his grip to slacken every so often, most notably in the second of Hodkinson’s instrumental cantatas, and in the interlude between second and third verse of the Ongren. …Solos are well taken, and the most challenging music is handled with aplomb by the ensemble. “

“The direction is good, if not always as vivid as might be. Seggelke allows his grip to slacken every so often, most notably in the second of Hodkinson’s instrumental cantatas, and in the interlude between second and third verse of the Ongren. …Solos are well taken, and the most challenging music is handled with aplomb by the ensemble. “

Ronald E Grames – Fanfare – September 2016

“…Allyss Haecker’s seamless, soaring line and the music’s sometimes cushioned harmonies bring to mind the gentle acquiescence of Strauss’s Im Abendrot (At sunset). What a gorgeous, deeply affecting piece this is, and how well played and sung.”

“…Allyss Haecker’s seamless, soaring line and the music’s sometimes cushioned harmonies bring to mind the gentle acquiescence of Strauss’s Im Abendrot (At sunset). What a gorgeous, deeply affecting piece this is, and how well played and sung.”

Dan Morgan – MusicWeb-International.com – December 2015

“The warmth of sound and fullness of texture Brahms consistently achieved are here in Taneyev… The Carpe Diem plays…with a firm grip on the rhythm, full understanding of the architecture, unflagging momentum and an obvious love for the music.”  - Robert Markow

“…the Carpe Diem version is leaner, their readings are highly expressive, and always fully committed.” - Gavin Dixon

“…this Carpe Diem installment is another wonderful addition to the catalog of Russian quartets.”  - Mark Novak

“The warmth of sound and fullness of texture Brahms consistently achieved are here in Taneyev… The Carpe Diem plays…with a firm grip on the rhythm, full understanding of the architecture, unflagging momentum and an obvious love for the music.”  - Robert Markow

“…the Carpe Diem version is leaner, their readings are highly expressive, and always fully committed.” - Gavin Dixon

“…this Carpe Diem installment is another wonderful addition to the catalog of Russian quartets.”  - Mark Novak

Fanfare - May 2016

“ Carpe Diem’s latest volume in their on-going series now truly blows away the cobwebs. Even in slow movements, Carpe Diem score over their predecessors with notably more secure tuning by their viola player, Korine Fujiwara.” ****

“ Carpe Diem’s latest volume in their on-going series now truly blows away the cobwebs. Even in slow movements, Carpe Diem score over their predecessors with notably more secure tuning by their viola player, Korine Fujiwara.” ****

Daniel Jaffe – BBC Music magazine – May 2016

“…The American Carpe Diem String Quartet have…devoted a lot of their time to contemporary music. Here though, when they throw their net more than one hundred years back in time, they come up with this echt-romantic music fresh as paint. They feel wholly involved in the idiom. The playing is assured, the recording is excellent and the annotations highly informative. “

“…The American Carpe Diem String Quartet have…devoted a lot of their time to contemporary music. Here though, when they throw their net more than one hundred years back in time, they come up with this echt-romantic music fresh as paint. They feel wholly involved in the idiom. The playing is assured, the recording is excellent and the annotations highly informative. “

Goran Forsling – MusicWeb-International,com – April 2016

“The Carpe Diem String Quartet extends its gratifying traversal of Sergey Taneyev’s chamber music. “

“The Carpe Diem String Quartet extends its gratifying traversal of Sergey Taneyev’s chamber music. “

Gary Lemco – Audiophile Audition – April 2016

“... an attractive, open-hearted work. The opening Allegro moderato has a captivating lyrical sweep and skipping staccato passages which the Carpe Diem Quartet plays with neat lightness of touch.”

“... an attractive, open-hearted work. The opening Allegro moderato has a captivating lyrical sweep and skipping staccato passages which the Carpe Diem Quartet plays with neat lightness of touch.”

Tim Holmfray – The Strad – March 2016

“Carpe Diem demonstrates a remarkable feel for this music, portamento and all. Taneyev’s writing may exhibit impeccable craftsmanship, but it’s also crafty and quite difficult, and not just in the very fast passages that require dexterity and perfect finger-to-bow coordination. Equally challenging is some of the ear-bending chromaticism which requires very precise intonation to clarify the harmonic direction. The Carpe Diem String Quartet excels in these areas, as well as in cultivating a truly beautiful, integrated ensemble tone. Based on my hearing of these performances, I can’t imagine them being bettered. Very strongly recommended. “ – Jerry Dubins

“…the most successful of the three releases I’ve heard in this series so far. It also includes two works that should make for an excellent introduction to Taneyev’s chamber music: the frank, big-hearted Ninth, and the dazzling Sixth. Strongly recommended. “   - Barry Brenesal

“The Taneyev Quartet is more relaxed and flowing and generates a more rapturous lyricism, while the Carpe Diem players apply greater forward pressure, stronger vertical stresses, and a more prominent cello presence. The differences between the two performances are perhaps most pronounced in the Adagio serioso slow movement, where the Carpe Diem rendition has much more impetus and contrasts markedly with the slow, dirge-like tread of the Taneyev Quartet.” – Daniel Morrison

 

“Carpe Diem demonstrates a remarkable feel for this music, portamento and all. Taneyev’s writing may exhibit impeccable craftsmanship, but it’s also crafty and quite difficult, and not just in the very fast passages that require dexterity and perfect finger-to-bow coordination. Equally challenging is some of the ear-bending chromaticism which requires very precise intonation to clarify the harmonic direction. The Carpe Diem String Quartet excels in these areas, as well as in cultivating a truly beautiful, integrated ensemble tone. Based on my hearing of these performances, I can’t imagine them being bettered. Very strongly recommended. “ – Jerry Dubins

“…the most successful of the three releases I’ve heard in this series so far. It also includes two works that should make for an excellent introduction to Taneyev’s chamber music: the frank, big-hearted Ninth, and the dazzling Sixth. Strongly recommended. “   - Barry Brenesal

“The Taneyev Quartet is more relaxed and flowing and generates a more rapturous lyricism, while the Carpe Diem players apply greater forward pressure, stronger vertical stresses, and a more prominent cello presence. The differences between the two performances are perhaps most pronounced in the Adagio serioso slow movement, where the Carpe Diem rendition has much more impetus and contrasts markedly with the slow, dirge-like tread of the Taneyev Quartet.” – Daniel Morrison

 

Fanfare – March 2016

“The Carpe Diem foursome play fluently and…prepared the two works carefully, terracing and balancing the phrases. I would say their playing represents all things bright and beautiful, whereas the Leningraders…inject an added charge of Russian soul and project that indefinable air of command. “

“The Carpe Diem foursome play fluently and…prepared the two works carefully, terracing and balancing the phrases. I would say their playing represents all things bright and beautiful, whereas the Leningraders…inject an added charge of Russian soul and project that indefinable air of command. “

Tully Potter – MusicWeb-International.com - February 2016

“This album is the third in the series of ten projected recordings by Septura exploring music that, although not originally composed for brass, has been masterfully arranged for the medium by members of the ensemble  Another first rate release from this enterprising ensemble. Highly recommended”

“This album is the third in the series of ten projected recordings by Septura exploring music that, although not originally composed for brass, has been masterfully arranged for the medium by members of the ensemble  Another first rate release from this enterprising ensemble. Highly recommended”

Brass Band World – October 2016

“…this set of transcriptions is Septura’s most successful to date, a tribute to the skills of the players and the arranger.”

“…this set of transcriptions is Septura’s most successful to date, a tribute to the skills of the players and the arranger.”

Roger Blackburn - MusicWeb-International – January 2016

“The march from Prokofiev’s The Love for Three Oranges is deliciously witty, the Scriabin preludes full of contrast, Rachmaninov’s lovely Vocalise Op 34 No 14 poetic and cup-muted, with two trumpets and two trombones “singing” the vocal line winningly. “

“The march from Prokofiev’s The Love for Three Oranges is deliciously witty, the Scriabin preludes full of contrast, Rachmaninov’s lovely Vocalise Op 34 No 14 poetic and cup-muted, with two trumpets and two trombones “singing” the vocal line winningly. “

Fiona Maddocks – The Guardian – January 2016

“…Brass instruments feature prominently in these composers’ symphonic output, and Septura is a natural fit for their chamber music. “

“…Brass instruments feature prominently in these composers’ symphonic output, and Septura is a natural fit for their chamber music. “

Lisa Flynn – WFMT (Chicago) – December 2015

“All of this is wonderful music, and Roost’s band gives it superb readings. It must be a treat for them to play such larger-than-life music, and to be conducted by the composer.”

“All of this is wonderful music, and Roost’s band gives it superb readings. It must be a treat for them to play such larger-than-life music, and to be conducted by the composer.”

Barry Kilpatrick – American Record Guide – January 2017

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Commerce Way
Colchester
Essex
CO2 8HX
United Kingdom