Toccata Classics
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Jerome de Bromhead: Orchestral Music
Alan Smale (violin)
RTE National Symphony Orchestra, Colman Pearce
De Bromhead is an interesting prospect and his music on this evidence encompasses neon-lit dream textures and imposingly statuesque brass writing. The music feels well organised and efficient. —
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Special offer. Glanville-Hicks: Sappho
Deborah Polaski (Sappho), Martin Homrich (Phaon), Scott MacAllister (Pittakos), Roman Trekel (Diomedes), Wolfgang Koch (Minos) & John Tomlinson (Kreon)
Orquestra Gulbenkian and Coro Gulbenkian, Jennifer Condon
[Sappho] may not be a lost masterpiece. But it is certainly a massively professional piece of composition whose dramatic timg...keeps a fine balance between local detail and mainline plotting...What... —
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Tartini: 30 Sonate piccole for Solo Violin Volume One
Sonatas Nos. 1–6
Peter Sheppard Skærved (violin)
[Skærved] notes that he has gone for a close-up recording quality, the better to heighten the dramatic harmonics and other effects that Tartini envisaged...This, as suggested, is very close... —
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Sinigaglia: Chamber Music
All First Recordings
Solomia Soroka (violin) & Phillip Silver (piano), Noreen Silver (cello) & Phillip Silver (piano)
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Philip Spratley: Orchestral Music, Volume One
Music for String Orchestra
Linda Merrick (clarinet), John Turner (recorder), Tracey Redfern (trumpet) & Eira Lynn Jones (harp)
Royal Ballet Sinfonia & Manchester Sinfonia, Barry Wordsworth & Philip Spratley
Charming and colourful pastoral scenes that owe a debt to Vaughan Williams. …crisply played and cleanly recorded… —
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Oleg Komarnitsky: Chamber and Instrumental Music
London Piano Trio: Robert Atchison (violin), David Jones (cello) & Olga Dudnik (piano)
[they] brim with an attractive invention reminiscent of Shostakovich, particularly the pungent Slavonic Capriccio for violin and piano, played with brio by Robert Atchison and Olga Dudnik. —
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Theodor Grigoriu: Byzantium after Byzantium
Sherban Lupu (violin), with Andrei Tănăsescu (piano)
Sinfonia da Camera, Ian Hobson
He is not really an innovative composer but certainly a highly original one who, through conventional means and a solid craftsmanship in orchestration and motivic development, has acquired his... —
