Ravel: Orchestral & Virtuoso Piano


“Vincent Larderet is a pretty impressive pianist. He is certainly a fantastic interpreter of the Daphnis suite, and with a little luck (…) he could be associated with Daphnis the way Maurizio Pollini is linked to Petrushka. You’ll be impressed at how well that War dance turns out on piano, by the way, as one of the ultimate displays of virtuoso fireworks. This is a fantastic Ravel recital (…) and it makes this an essential release.” --MusicWeb International « Recording of the Month », May 2014



Poulenc: Les Anges musiciens


Francis Poulenc’s corpus of songs is one of the most generous and accomplished in the French repertoire. Born in 1899 and living until 1963, he inherited the art of the 19th century, which he succeeded in renewing while remaining within the bounds of tonal language, setting mostly contemporary poets (Apollinaire, Éluard, Aragon, Louise de Vilmorin). He drew his inspiration from the atmosphere specific to each text, but also from listening attentively to the timbre and rhythm of the poet reading his or her own works. This was, in the composer’s view, an essential key to penetrating the mystery of their creations. Associating the specific experience of the poet with his own personal memories, Poulenc created an expressive aura unique in the song output of his time.

Telemann: Music of the Nations


Among the most prolific and most famous composers of his generation, Telemann was born in 1681 at Magdeburg and educated at the University of Leipzig, where he founded the University Collegium Musicum and was the city council's preferred candidate for the position of Thomascantor in 1723, when Bach was eventually appointed. Telemann had established himself in Hamburg in 1721 as Cantor of the Johanneum and director of music for the five principal city churches. He remained in Hamburg until his death in 1767, when he was succeeded by his godson, Carl Philipp Emanuel Bach, son of Johann Sebastian Bach. In his long career Telemann wrote a great deal of music of all kinds in a style that extends the late Baroque into the age of Haydn.

Bach: Cantatas & Arias


“this is a performance which mixes sumptuousness and refinement with impeccable poise and style...Bicket's approach is so gloriously relaxed and expansive that the music seems to float timelessly in the air like so much arresting perfume...I am now convinced that Watts is as authoritative and compelling a Bach soprano as you will find anywhere today.” --International Record Review, March 2011

“Elizabeth Watts, with her voice combining warmth and purity, is well suited to Bach's personal outpouring of both penitence and jubilation...[she] is on top form and the playing under Harry Bicket is equally fine.” --Classic FM Magazine, April 2011 ****

Grieg: Lyric Pieces


“His performances are wonderfully direct, without a trace of indulgence...With Hough, the music always comes first.” --The Guardian, 28th April 2015 ****

On this, his latest recording, Hough has made a selection of pieces by Grieg that encompass every nuance of emotion. The variety of pieces on this album showcase the brilliance of Grieg's writing and Hough's own mastery of the instrument – his playing evokes the full range of human feeling and experience, and that's not an easy thing to do.


Vivaldi: I concerti dell'addio


The farewell concertos

“This is a real homage to the baroque bow … his [Vivaldi’s] music has that chameleon way of being almost unrecognisable from player to player and almost without fail he’s as I want him to be when he’s being played by Biondi; what you get here is a performance of profound artistry ... the subtleties in this disc just take my breath away” --Gramophone Magazine, April 2015

Paganini Variations


'This remains an impressive performance, brilliant, moving and searching by turns, one that is at heart intensely musical...Pianists and collectors of piano recordings are strongly urged to hear this remarkable set of performances, especially the Rachmaninov.' --International Record Review, April 2014

'All six Grandes Etudes de Paganini are a comparative rarity on disc...Barto's is the best modern recording...he is acutely observant of Liszt's directions while bringing his own distinctive voice to the music...Throughout you'll notice a wealth of orchestral detail under Eschenbach's direction in an empathetic partnership' --Gramophone, June 2014

Leroy Anderson: Orchestral Works Volume 2


“The performances can compete with the best. Slatkin's tempi are consistently well chosen and generally close to Anderson's own. This second instalment is one no lover of Anderson's music will want to be without” --Gramophone Magazine, July 2008

"According to the detailed annotations that accompany the CD, six of the selections listed above have been recorded for the first time…I think that even the slightly adventurous will find some jewels among the unfamiliar pieces. Slatkin and the orchestra seem tuned-in to the Anderson idiom and lose nothing by comparison with others in the familiar pieces…I await Volume 3." --Fanfare, September 2008

Hahn: Le rossignol éperdu


“Each number on its own is an exquisite gem and to hear a handful at a time is delightful; but I wonder if Hahn is best served by having the four suites presented in two lengthy tranches...despite the sensitive playing of Eidi.” --Gramophone, March 2015

Born in Caracas, Reynaldo Hahn moved with his family to Paris at the age of three. There he studied at the Conservatoire under Massenet and made a particular impression with his songs, which he sang himself, to his own piano accompaniment. His interest in the theatre led to his appointment in 1945 as director of the Paris Opéra.

Scarlatti and the Neapolitan Song: Sonatas and Canzonas


Domenico Scarlatti, a child of his time, was strongly influenced by the music of his home town Naples, where he heard opera buffa in Neapolitan dialect, tarantellas and ofcourse the characteristic Neapolitan songs. In this recording harpsichord sonatas are alternated by Neapolitan songs by contemporary composers, such as de Liguori, Pergolesi, Vinci and other anonymous composers.

Beautifully sung by soprano Letizia Calandra, and played on the harpsichord by the eminent Francesco Cera.

Fauré: Piano Quartet No. 2


"What impresses in the playing of all the musicians on this superb disc is the absence of any struggle between piano and strings; it is not a case of the piano playing against the three string players. The sheer enjoyment manifest on this disc marks it out as chamber music played at its highest level." --MusicWeb International, August 2014

Gabriel Fauré’s chamber works, long overshadowed by his popular Requiem (Naxos 8550765), are regaining their rightful place. This new release from the Kungsbacka Piano Trio follows their recording of Fauré’s First Piano Quartet and other chamber works (8.573042), described by Gramophone as ‘a delectable way into Fauré’s chamber music’.

Caresana: L’Adoratione de’ Maggi

“This collection of Nativity cantatas suggests a richly colourful, dramatically inclined musical personality...Antonio Florio directs the period instruments of I Turchini pliantly. This is a real discovery, eminently worthy of investigation.” --BBC Music Magazine, December 2010 *****

“Sembri stella felice...is sung with impressive brilliance and feeling by Maria Grazia Schiavo...the musicianship of I Turchini's string players and singers is beguiling...This is another fascinating contribution to Florio and I Turchini's admirable discography of obscure Neapolitan gems.” --Gramophone Magazine, March 2011