Roslavets: Piano Music

'Roslavets is ideally served by Hamelin who relishes the elaboration and sorts it out with his customary acuteness of ear for quality and balance of sound' --BBC Record Review

'Roslavets is a most compelling musical presence. For those interested in digging beneath the surface of 20th-century Russian culture, musical and social, grab this disc' --American Record Guide

'This finely recorded recital confirms Hamelin's place as one of the most enterprising and virtuosic performers of our day' --Gramophone

Arensky: String Quartet; Tchaikovsky: Souvenir de Florence

Tchaikovsky’s virtuoso string sextet ‘Souvenir de Florence’ is one of the most popular works in the string chamber music repertoire. It has been recorded here with Arensky’s Quartet Op 35 which was dedicated to the memory of Tchaikovsky.

'The Arensky Quartet is a lovely piece … performance and sound are superb. I cannot imagine better performances of either the Tchaikovsky or the Arensky' --Fanfare, USA

Nielsen: Aladdin Incidental Music, Op. 34

“The two soloists, Mette Ejsing and Guido Paevatalu, are very good and the Danish Radio forces respond keenly to Rozhdestvensky's baton.” --Penguin Guide, 2011 edition

Gennady Rozhdestvensky conducts the Danish National Radio Symphony Orchestra and Chamber choir in the incidental music composed by Carl Nielsen in 1918-1919 for a play at the Royal Theatre in Copenhagen based on the story of Aladdin. Full of exotic delights, the rich and colourful score is reminiscent at times of Prince Igor and Scheherazade, but still very much Nielsen’s own.

Tchaikovsky: Swan Lake, Op. 20

“[Ehnes] is superb throughout...The Bergen Philharmonic offers the most polished playing, driven by Järvi at often faster than usual tempos...when it matters Järvi abandons his brisk manner for an understated yet manifest sensitivity to Tchaikovsky's poignant lyricism.” --BBC Music Magazine, Christmas Issue 2013 *****

“This is a lively and characterful Swan Lake...The Bergen Philharmonic savour the colour and contour of the dances and have been caught by the Chandos team in a recording that has bite and presence. Tchaikovsky's masterpiece in dance is presented in a compelling manner to please all the senses. A very fine swan indeed.” --Gramophone Magazine, March 2014


“The declamatory idiom requires an actor as much as a singer, and Romina Basso certainly fits the bill. She weeps, sighs, rages and pleads, wringing high drama from these emotive texts - a veritable Maria Callas of Baroque music.” --BBC Music Magazine, September 2014 ****

“Basso sings with emotional virtuosity in an intensely plangent performance [of the Strozzi].” --Gramophone Magazine, December 2014

“This repertoire is irresistible” --MusicWeb International, February 2015

Nielsen: Symphonies Nos. 4 & 5

“Oramo certainly knows how to generate and sustain a good current. Both of these symphonies are conceived as strong, purposeful wholes...Oramo also has a truly admirable way with phrasing Nielsen's long lines - his melodies are rarely as predictable as their opening motifs suggest.” --BBC Music Magazine, May 2014 ****

“Oramo's pathway through these incendiary works is valiant and thoughtful - even if he point-blank refuses to emerge from the skirmish with a bloodied nose...who could blame Oramo for wanting to carve out terrain to call his own?” --Gramophone Magazine, May 2014

Beffa, Stockhausen & Stravinsky: Piano Music

“Mosell studied the Stockhausen pieces with the composer, and his spirit must be smiling upon the pianist's utmost precision in regard to dynamic scaling and rhythm.” --Gramophone Magazine, August 2015

“Mosell confronts [Stockhausen's] music fearlessly, shaping the smaller-scale pieces (the shortest, Klavierstück III, lasts just 38 seconds) as elegantly as she can, taking their technical challenges in her stride and above all conveying the sense of cutting-edge invention and innovation that is so characteristic of Stockhausen’s early music.” --The Guardian, 10th June 2015 ***

Rachmaninov: Piano Concertos Nos. 1 & 4, Paganini Rhapsody

“Ogawa never forces the tone. She ensures that beauty, clarity and richness of sound are sustained at all costs, even in the most thunderous passages...Yet to suggest that her playing is cool, detached and uninvolving would be utterly misleading...By any standards, this is an outstanding release.” --BBC Music Magazine, October 2012 *****

“the first movement cadenza, following pages of insouciant athleticism, conveys more vividly than most the image of someone trapped at the bottom of a dark well clawing their way up its side into the sunlight...The Malmo players under Owain Arwel Hughes offer acutely observed support throughout, with the important wind and brass solo writing subtly highlighted to gratifying effect.” --Gramophone Magazine, October 2012

Somis: Violin Sonatas, Op. 1

“The performances are, in the main, impressive. The overall sound is good and Kreeta-Maria Kentala plays with lively expression, introducing imaginative decoration, especially in the adagios. And she's very well supported.” --Gramophone Magazine, Awards Issue 2014

“the violinist plays cleanly with a strong sound … his ornamentation is plentiful but tasteful. The recorded balance between the instruments is good and tempos well chosen. As I said, strongly recommended.” --Early Music Review, August 2014

Sarasate: Music for Violin and Piano Volume 3

“Yang throws off merciless chains of double stops and finger-crippling arabesques with scintillating aplomb. She produces astonishingly clean harmonics - whether natural or forced - and high-wire acrobatics (in emulation of birdsong) in Los pajaros de Chile. Her confident rendering of this delightful piece seems all the more remarkable given it was only recently published.” --BBC Music Magazine, May 2012 *****

“Yang is a phenomenon, and Handulla is a fine accompanist. Anyone who has heard previous volumes will want this one, and anyone who has never heard Yang should get this recording.” --American Record Guide, July 2012

Beethoven: String Trios, Op. 9 Nos. 1-3

“The playing itself is dazzling, combining expressive warmth and admirable clarity: I don't think I've ever heard the presto finale of the first Trio dashed off with quite such transparency and lightness of touch...All in all, this recording is a real treat.” --BBC Music Magazine, February 2012 *****

“These musicians are in command of the meticulously written extremes in expression, sforzandos not indiscriminately stabbed at but gauged according to the contexts in which they appear. Tempi are gauged to a nicety too...In sum, they do Beethoven proud throughout this exceptionally fine disc, enhanced by BIS's clean SACD sound.” --Gramophone Magazine, March 2012