Spohr
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Dueñas’s performance favours the Concerto’s abundant lyrical qualities. In the magical Larghetto she combines unaffected simplicity with rich sentiment while her account of the ‘Rondo’ is certainly... —
Awards:
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Presto Recording of the Week, 5th May 2023
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Presto Recordings of the Year, Finalist 2023
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Presto Recordings of the Year, Finalist 2023, Shortlisted - Debut Solo Album
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International Classical Music Awards, 2024, Nominated - Concerto
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Gramophone Magazine, Critics' Choice 2023
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Opus Klassik Awards, 2024, Winner - Young Talent of the Year
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Spohr - Clarinet Concertos Nos. 3 & 4
RecommendedMichael Collins (clarinet)
Swedish Chamber Orchestra, Robin O’Neill
Michael Collins repeats the success of his disc of Nos 1 and 2 with elegantly phrased melodies, immaculate passagework and wondrously even trills. The Swedish Chamber Orchestra and Robin O'Neill... —
Awards:
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Building a Library, November 2009, Highly Recommended
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Shelley plays this music with consummate artistry, making light of its technical difficulties and investing it with all the Romantic charm and ardour it needs. It's captured in excellent quality... —
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The performances, like the pieces themselves, are a shade laid-back, but their lack of urgency never seriously detracts from the attractive qualities of this music. —
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Throughout, her sure technical control, phrasing judiciously moulded, and varied tone colour enliven her choices. —
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Spohr - Clarinet Concertos Nos. 1 & 2
Michael Collins (clarinet)
Swedish Chamber Orchestra, Robin O'Neill
…the first two of his four concertos for the clarinettist Johann Simon Hermstedt… well worth hearing: they’re imaginatively constructed and full of graceful melody, as well as being true virtuoso... —
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Louis Spohr: Des Heilands letzte Stunden. Passionsoratorium
Florian Sievers (tenor), Thomas E. Bauer (baritone), Johanna Winkel (soprano), Arttu Kataja (bass (vocal)), Sigrun Bornträger (alto), Raoul Bumiller (tenor), Magnus Piontek (bass (vocal)), Franziska Bobe (soprano), Valentin Bauer (tenor), Felix Rathgeber (bass), Christian Georg (tenor), Maximilian...
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These are clear, beautifully judged performances, and Shelley and his orchestra plead every case for these works, from the portentous opening Adagio of the Eighth Symphony, to its fleet-footed... —
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