"... The engineering of the CD is absolutely top notch and is really the kind of standard that all classical CD’s ought to aspire to achieve, the clarity of each instrument and section is unbelievable. The conductor, the orchestra as individuals and as an ensemble and the organist all require serious congratulations on being able to complete the technical task of recording these works and all the while making it a CD which engages you right from the start and holds your attention without a moments grace.
If your only experience of Copland is of the famous ‘Rodeo’ and ‘Fanfare for the Common Man’ and you would like to dip your toe further into his more detailed works then this CD is a must buy!"

"...an admirable programme in which Rebecca Miller combines panache with sensitivity and obtains superb playing from Royal Northern Sinfonia."    *****

"...Well, I’m sold, and have become an immediate admirer of Samuel Adler’s music – although the thought of back-tracking through his list of opuses (quite a few are recorded) is just a little daunting. Hats-off to Linn, the RSNO, Maximilian Hornung and José Serebrier for their collective enterprise, for exploring and sharing these scores with such conviction. The recorded sound is the equal of the dedicated performances that are so persuasive. A follow-up volume would be very welcome."     *****

"...The tone poem Traumgesicht is an appealing moody opener, a richly harmonised dreamscape climaxing with a very Mahlerian death march. Another programmatic piece, Marjatta, includes an obbligato role for soprano ... the music is dazzling. Cuckoo calls and diaphanous strings are deployed with rare skill. Soprano Soile Isokoski is always audible, Melartin’s orchestration increasingly colourful as the work progresses... Desert island stuff, sumptuously recorded and sweetly performed. Good cover art."

"... The Brook Street Band plays all this music with its usual bravura—and where called for, deep tenderness—resulting in a highly appealing program, and history lesson, that any fan of the Baroque should savor. As usual, Avie records the group somewhat closely, underscoring the lustiness of their approach to music they obviously love."  ****

"...This is a magnificent recording of significant 20th century American orchestral works." *****

"A deliciously joyful collection of four-hand work to complement your Saint-Saens library." ****

"... This is, as well as being a landmark issue, a marvelous opera, mixing buffa elements with a very large operatic experience. The plot, involving author Beaumarchais’s attempt to rewrite history and save his love, Marie Antoinette, from the guillotine, is ingenious in its mixture of past and present, bold and intimate, and the mechanics of change—revolutionary and/or nonviolent, shown in a mélange of smoke and ghostly mirrors—metaphorically speaking—make for an intriguing opera within an opera. The music, at once unsettling and nostalgically comforting, portrays these ideas with vivid communicativeness and exceptional warmth. Don’t miss this one."   *****

*****

Performance *****          Sonics *****

Once again the Chandos recording is first rate with pin sharp detail and a spacious sound stage typical of the MediaCity studio... Strongly recommended."

"This is a fascinating programme, with two world premiere recordings – the Hertels – a rarity in the Hasse, and a moderately well-known one in the Bach... Musica Viva, also known as the Moscow Chamber Orchestra, is not a period instrument ensemble, but their performance is certainly historically informed, starting with 415 Hz tuning. These are very crisp, clean performances ..."

"...Imogen Cooper epitomises all that is refined, tasteful and thought-out... This is a recital of insights: of cultured pedalling, of playing to climaxes and cadences free of exaggeration, of Mozartean rhythm – pliant yet crisp, never flaccid or dragging... Chopin of this calibre is rare ..."  *****

"...Sophie Yates is one of the finest keyboard players around who often comes up with interesting programmes. That is certainly the case here. She is a most eloquent advocate of this neglected repertoire. With her style of playing this music is anything but dull and as a result this disc is a compelling music lesson. She plays two different harpsichords, both copies of French 18th-century instruments...  It is to be hoped that English keyboard music of the late 17th and early 18th centuries will receive more attention than it has so far..."