ECM
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[Messiaen’s] distinctively pungent harmonies and ecstatic resolutions are all here, but in a span which takes us through a rich range of places and times of day, from nocturnal mystery to the... —
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Stefano Scodanibbio: Reinventions
Giulio Rovighi, Aldo Campagnari, Massimo Piva (viola), Francesco Dillon (cello)
with harmonics as a constant defining factor, the music's atmosphere, as the Quartetto Promoteo's first-rate performance shows, is forever haunting. —
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This is an enchanting CD, every item a sheer delight. Margaret Leng Tan worked with Cage in the last decade of his life, and her earlier recordings show a special sympathy for Cage's keyboard... —
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The title El último aliento is taken from the final piece by Carlos Moscardini ( b1959) and roughly translates as ‘ the last breath’. With understated intensity it neatly summarises the whole,... —
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Thomas Larcher: Madhares
Till Fellner (piano), Kim Kashkashian (viola)
Munich Chamber Orchestra, Quatuor Diotima, Dennis Russell Davies
He has a fabulous ear for unusual sonorities, which he fashions into surprisingly logical narratives...Böse Zellen, in particular, is a truly original work, vigorously performed and captured... —
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Schumann: Violin Concerto, Symphony No. 1 & Phantasie
Thomas Zehetmair (violin and director)
Orchestre de chambre de Paris
Thomas Zehetmair coaxes his French players to produce warmly nuanced playing in this spirited account of the Spring Symphony…the orchestra works absolutely in tandem with the superb Zehetmair... —
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Lislevand and his colleagues manage to create music that sings and is full of grace, feeling and lyricism...these fine performances - fresh, animated, elegant and virtuosic without being flashy... —
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Konstantia Gourzi: Music for Piano and String Quartet
Lorenda Ramou (piano), Ensemble Coriolis: Heather Cottrell, Susanna Pietsch (violin), Klaus-Peter Werani (viola), Hanno Simons (cello)
the string quartet Israel (2004) is much the most substantial work - its range of playing techniques allied to a harmonic content such as denotes this composer's interest in combining idioms... —
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Much of Silvestrov's music since the mid-1970s has been a requiem in all but name – a rite of regret and consolation for music and for the hopes and dreams of modern consciousness. So it's no... —
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