Stone Records
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Hugo Wolf: The Complete Songs Volume 4
Keller, Fallersben, Ibsen and other poets
Sholto Kynoch (piano), Mary Bevan (soprano), Quirijn de Lang (baritone)
The soft-grained baritone of Quirijn de Lang, with its somewhat cloudy vowels, is well-suited to [Nacht und Grab], sung over what is virtually a piano nocturne, beautifully played by Sholto... —
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Hugo Wolf: The Complete Songs Volume 2
Mörike-Lieder Nos. 27-53
Sholto Kynoch (piano), Sophie Daneman (soprano), James Gilchrist (tenor), Anna Grevelius (mezzo-soprano), Stephan Loges (baritone)
As the palette of voices is varied, Kynoch is able to group the Lieder thematically without risking tedium...Gilchrist alert to [the songs'] volatility and drama; Daneman capturing every elusive... —
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Yamada in particular is outstanding throughout, always poised, pertly eloquent, alert and conscientious in the drawing together of threads so that these three contrasted idioms do some weaving... —
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Yet another recording of the Trio Sonatas, but this one is most enjoyable and catches the spirit of this music very well. Robert Costin generally chooses lively tempi and often sparkling registrations... —
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Monday’s Child
Katja Webb (soprano), David Wickham (piano), Allan Meyer (clarinet), Peter Facer (oboe)
Webb's fruity soprano is lithe and adventurous, tackling this little-heard repertoire with thoughtful poise and relish. Wickham is precise and sympathetic. This is an important series, noteworthy... —
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Ronald Corp: Fields Of The Fallen & Dawn On The Somme
Stephan Loges (baritone)
Maggini Quartet & Members of the New London Orchestra
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The Complete Havergal Brian Songbook Volume 2
Michelle Walton (soprano), Mark Stone (baritone) & Sholto Kynoch (piano)
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The Iridescent Flute
Australian music for flute & piano
Neil Fisenden (flute), David Wickham (pianist)
There's no shortage of excellent flute works, but a few more by a group of Australian flute composers won't harm, especially when they are of the calibre of those on this two-disc charmer...Perhaps... —
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There is a lightness of touch about this recording, with a great sense of presence and space...The interplay between Harper-Brown and Wickham is seamless, as though the music is being produced... —
