Malcolm Martineau

“Why aren’t these quartets more well known? They deserve to be, displaying as they do consummate writing for this genre. They receive, in this ambient recording, the most persuasive of interpretations, each phrase and nuance nurtured…”

“… The Brahms is the high point, with a characteristic warm, easy-going lyricism in the first movement that contrasts with ample muscle when the going gets turbulent. The Scherzo has a decent lightness of touch, while the Adagio with its hushed wide piano chords and pliant responses from strings, reaches that Brashmsian sublimity…”

“… Hülshoff, boldly recorded, plays with fiery temperament and tonal opulence.”

“… the Piano Quintet and Nonet in particular are assured, determinedly structured and richly scored statements, abundant in melody and a gutsy inner harmonic strength… The Kaleidoscope Chamber Collective… clearly love performing this music … they take the listener on joyful and impassioned journey – great players cherishing special music for a new generation to discover…”

“… the Concerto is a riot of diverse influences and allusions … Sicroff shows he has the measure of the score and the technique to cope with its not inconsiderable demands. His account is barnstorming in the best sense; richly coloured and virtuosic. The Lviv National Philharmonic of Ukraine provides fine support for this hidden gem of its culture and is in finer form still for the earliest work here, the delightful Scherzo fantastique, of 1929… Nimbus’ sound is excellent throughout.”

“… Here [Enescu’s Third Sonata] shines with a special light and intimacy, through there is no lack of power in the final virtuosic pages.”

“… [Despax] proves an eloquent soloist with a fine aura whenever it is his turn to shine. His account of the First Concerto’s Romance is poised and expressive… His playing of the Second Concerto is no less graceful and pleasing.”

“… His [Lortie] touch is light and flexible, with mercurial shifts in tempo and shading. The Mazurkas are particularly intimate and conversational… the Tarantelle … comes off impressively thanks to Lortie’s pianism. It can easily sound awkward, but here it goes like the wind. The seldom-heard Rondo Op 16 is an intricate piece here dazzlingly played…”