BIS
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Kalevi Aho: Organ Music
Jan Lehtola (playing the 1907/2008 Åkerman & Lund organ of St Johannes kyrka, Malmö, Sweden)
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Nicolas Bacri - Sturm und Drang
Lisa Batiashvili (violin) & François Leleux (oboe), Sharon Bezaly (flute), François Leleux (oboe) & Riitta Pesola (cello), Riitta Pesola (cello)
Tapiola Sinfonietta, Jean-Jacques Kantorow
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Dark undercurrents swirl in both symphonies, moments of unsettling beauty juxtaposed with passages of fidgety rhythmic energy…Hammarström balances the orchestral sound judiciously, with wind... —
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In Le tombeau de Couperin, Kathryn Stott not only pays tribute to the Classical impulses behind the work but also honours its more powerful moments…[her] fingers are well up to the virtuosic... —
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Masaaki Suzuki plays Buxtehude
Masaaki Suzuki (playing the Klapmeyer Organ of St Nicolai Church, Altenbruch)
on the Wilde-Schnitger Organ of St Jacobi Church, Lüdingworth
Suzuki strikes a perfect accord between an expressively singing solo line and its fastidiously-shaped accompaniment. —
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Special offer. Copland: Billy the Kid & Rodeo
Andrew Litton (conductor & honky-tonk piano)
Colorado Symphony
these lively performances make a useful collection —
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JS Bach: Lutheran Masses II
Hana Blažíková (soprano), Joanne Lunn (soprano), Aki Matsui (soprano), Robin Blaze (counter-tenor), Yusuke Fujii (tenor), Gerd Türk (tenor), Katsuhiko Nakashima (tenor), Dominik Wörner (bass), Peter Kooij (bass)
Bach Collegium Japan, Masaaki Suzuki
The Bach Collegium Japan alight on the aesthetic of the new liturgical context with supreme eloquence in both of these works. Suzuki judges the pacing with quiet authority, promoting a generous... —
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The Second Quartet’s yearning first movement and the desperate scutterings of its scherzo are conveyed in febrile, hyper-Romantic style…Yet the Gringolt’s precision and finesse in the Fourth... —
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Martin Fröst: Dances to a Black Pipe
Martin Fröst (clarinet)
Australian Chamber Orchestra, Richard Tognetti
almost every piece is a novelty in Martin Fröst's dance-themed programme...This partnership of soloists and orchestra is an inspired one, not least in the smaller-scale pieces...There is a quirky... —
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Isserlis finds wonderful, darkly smouldering tone and line for Ravel's Two Melodies (originally for soprano voice) and the three Ernest Bloch pieces. He excels, too, in the busier idiom of Prokofiev's... —
