“Tine Thing Helseth is blessed with a combination of great wind-playing attributes: a soulful - dare one say brooding, Nordic - approach to phrasing, quite astonishingly outstanding intonation and a sound which is open and honest, even and focused in all registers...Helseth can do the ultimate in good trumpet-playing: smith a tune with seeming effortlessness.” --Gramophone Magazine, July 2012

"The sound is attractive. The spatial questions in the Cano - where her trumpet is deliberately placed backwardly – are all well met. Pan-European melodies arranged for trumpet may not sound as snappy as ‘Storyteller’, but T.T. Helseth certainly tells her stories nicely." --musicweb-international, May 2012

French Chamber Music

“All this alternately thoughtful and exuberant music is played with great care and authority by the Mirage Quintet who never mistake a term such as animé for fast. Brilliantly alive to their challenge, they have been well recorded.” --Gramophone Magazine, January 2010

"It is a graceful combination of instruments…hearing it is like walking through an exhibit of antique jewelry…Albert Roussel’s sophisticated Sérénade speaks in the composer’s distinctive voice, which is both exotic and neo-Classical." --Fanfare, January 2010

Rachmaninoff: Moments musicaux

“she fares extremely well in major solo works by Rachmaninov...Every one of the numbers in the Op. 33 Etudes-tableaux is vividly and incisively characterised, and she conjures a wonderful depth of feeling and range of keyboard colouring...The Corelli Variations here possess a poise, dignity and underlying melancholy that not every interpreter finds in this fascinating late work.” --BBC Music Magazine, August 2012 *****

 Gramophone Magazine Editor's Choice - September 2012

Berlioz & Ravel: Song Cycles

“Bernarda Fink's strong, flexible voice is well matched to all that Ravel asks of her, from the lively snapshots of the Greek folksongs to the long, languorous lines of Shéhérazade.” --Gramophone Magazine, September 2007

“Fink attacks [Shéhérazade] with a surprisingly girlish tone, suggesting innocence teetering on the brink of corruption as Ravel's eroticised Orient unfolds before her. The instrumental mixture of glitz and savagery is beautifully illuminated by Kent Nagano and his Berlin-based orchestra, too.” --The Guardian, 10th August 2007

Beethoven and his Teachers

Performing on early 19th-century pianos from the Frederick Historic Piano Collection, competition prizewinners Dmitry Rachmanov, a Juilliard graduate, and Cullan Bryant, a graduate of Manhattan School of Music, explore the interrelationships between the keyboard music of Beethoven and his principal teachers in this fascinating double-album of rarities for piano four-hands, culminating in a revelatory account of the Great Fugue in Beethoven’s own keyboard arrangement. The distinctive sonorities of these highly esteemed period instruments transport the listener back to the time when Beethoven, his teachers or his own pupils, may have performed this music themselves for the first time.

Aubert: Concert de Simphonies & Concertos

Except for a couple of concertos recorded by Stanley Weiner a quarter of a century ago, this is the first representation in the catalogue of Rameau’s contemporary, Jacques Aubert. A member of the Vingt-quatre Violons du Roy, he became leader of the Opera orchestra, also frequently appearing as a soloist in the public Concert spirituel series. His unwieldily-titled Suites of 1730 are regarded as antecedents of the French symphony (the preface sanctions performance by a larger body than a trio, justifying the approach here), but both the present works from the set commence with a French overture, continue with half a dozen dance forms, and end in a chaconne whose refrain is interspersed with episodes.

Matthews: Orchestral Works

“A welcome disc shines light on David Matthews's rhapsodic, fantastic music. Guy Johnstonis a technically immaculate soloist, while Ruman Gamba with the BBC Philharmonic are excellent throughout in first-rate recordings.” --Gramophone, Abril 2009

“The music speaks so directly and involving that you're caught up in it from the start. …A Vision and a Journey lives up to its title impressively: taking Sibelius as an inspiration… was clearly no bad thing. Strong persuasive performances, especially from Guy Johnston in the Concerto, are caught in exemplary sound.” --BBC Music Magazine, June 2009 ****

The Liszt Recording

Krystian Zimerman made two Liszt discs for Deutsche Grammophon in 1987 and 1990 respectively: one of the two Piano Concertos and Totentanz, with the Boston Symphony Orchestra under Seiji Ozawa, the other of solo piano music, comprising Liszt’s masterwork, the B minor Sonata, and a selection of late piano works – spooky, often unnerving pieces, like Nuages gris and La lugubre gondola II.

Albinoni: Oboe Concertos

"Stefan Schilli, principal oboist of the Bavarian Radio Orchestra, has already made a strong impression with his Naxos recordings of the oboe concertos of Vivaldi ( Fanfare 18:2) and a set of six concertos by Leopold Hofman, an unsung contemporary of Mozart and Haydn ( Fanfare 26:4). The current effort is equally successful. Schilli's partner, Giovanni Deangeli, has little opportunity to show off, since Albinoni typically plays the two oboes in tandem, but he completes his supporting assignment ably enough." --FANFARE

Kuhlau: Flute Trio

The German-born composer Friedrich Kuhlau settled in Copenhagen, where he made a name for himself in spite of continuing financial problems. Although not a flautist himself, he is known in particular for his considerable contribution to flute repertoire, of which the present trios for three flutes are an example. A close contemporary of Weber, Kuhlau enjoyed a reputation as a pianist and composer, writing music that is characteristic of its time, with a fine grasp of flute idiom.

"Do try the disc, you will hear some charming music and some superb flute playing." --MusicWeb International, October 2007

Rolla: 3 Gran Duetti Concertanti

Salvatore Accardo (violin) & Luigi Alberto Bianchi (viola)

“No lover of Italian string music should be able to resist either the Rossini-like effervescence of the Duets themselves or the enthusiastic, bright performances by Bianchi and Accardo. The recorded sound, clear and close, is merely icing on the cake. Enthusiastically recommended” --Fanfare, January 2000