Hyperion
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The excellent Leonore Trio certainly give their all in these often exciting and beautiful works, most especially the B minor Trio, No. 2. There's high virtuosity all round - superb light, dazzling... —
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Occasionally there's no disguising the music's considerable technical demands, but the founder-director of L'Avventura London is a thoughtful guide to music that doesn't always yield its secrets... —
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These performances by Arcangelo of the Litanies and Magnificat are unfailingly expert, with ornamentation gracefully integrated. The performances of the Leçons have a greater focus and intensity... —
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Brahms: Ein Deutsches Requiem
chamber ensemble orchestration by Iain Farrington
Yale Schola Cantorum, David Hill
Farrington’s reduction…certainly emphasises the sense of intimate consolation…The choral singing itself is excellent. The 32-member Yale Schola Cantorum is full of young vibrant voices, and... —
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Brahms: Piano Concerto No. 2 & 4 Klavierstücke
Marc-André Hamelin (piano)
Dallas Symphony Orchestra, Andrew Litton
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Christmas at St John’s
A sequence of music leading from the darkness of Advent to the blazing light of Christmas, Epiphany and beyond
The Choir of St John’s College, Cambridge, David Hill (director of music)
The John’s choir, fielding what sounds like a vintage crop of trebles, sings throughout with its trademark mixture of refinement and gutsy energy —
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Liszt Complete Music for Solo Piano 27: Fantasies, paraphrases and transcriptions of National Songs and Anthems
Leslie Howard (piano)
An entertaining programme ... providing the perfect vehicle for Leslie Howard's enthusiastic, colourful playing. His scholarship, as revealed in the liner notes, is remarkable, the recording... —
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The Romantic Piano Concerto 54 - Somervell & Cowen
Martin Roscoe (piano)
BBC Scottish Symphony Orchestra, Martyn Brabbins
Beyond his customary grace and lucid phrasing, Martin Roscoe dispatches the often taxing writing with stylish élan, while the indefatigible Martyn Brabbins once again leads the wonderful (and... —
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Brabbins never lets [the First] off the tight rein it requires, so that it sounds all the more powerful as a result: the ferocious climaxes are built and sustained with control, while the Andante... —
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