Helsinki Philharmonic Orchestra

“The notion of writing a sequel to Wagner's ''Götterdämmerung,'' and casting it as a percussion concerto, may seem odd, but it is vintage Christopher Rouse.” New York Times Best CDs of 2004

“Rautavaara's wholly original Violin Concerto is hauntingly accessible and grips the listener completely...Segerstam provides a shimmering backing and directs a committed and persuasively spontaneous orchestral response throughout all three works.” Penguin Guide, 2011 edition

“The Concerto (2001) is predominantly reflective and highly imaginative in its use of texture...[Nordmann] gives a performance of great distinction and subtlety...Excellent playing from the Helsinki Philharmonic under Leif Segerstam and state-of-the-art recording.” Penguin Guide, 2011 edition

“The four Legends first began to surface in Sibelius's mind in 1893, at the same time as he was working on his Kalevala opera, The Building ofthe Boat, the prelude to which became The swanof Tuonela. It isn't the only thing from the opera that found its way into the Legends. The lovely A-minor idea for muted strings in the middle section of Lemminkäinen in Tuonela is also among the sketches, where Sibelius scribbled over it the words, 'the Maiden of Death'. In the opera she would have rowed Väinämöinen across the river to Tuonela. In the tone-poem she symbolises the very opposite, the loving mother whose ministrations return Lemminkäinen to life. In 1954 Sibelius reversed the order of the inner movements so that The swan preceded Lemminkäinen in Tuonela. Segerstam disregards the composer's wishes and places them in the old order; there's a case for this – you otherwise have two highly dramatic pieces (Lemminkäinenin Tuonela and Lemminkäinen'sHomeward Journey) placed alongside each other.
Segerstam gets very good results from the Helsinki orchestra, which responds with a keen enthusiasm that's inspiriting. The performance is free from excessive mannerisms, and his account of Tapiola is very impressive. He tellingly evokes the chilling terrors and awesome majesty of the Nordic forest.” Gramophone Classical Music Guide, 2010

“Carpenter is the eloquent viola soloist in Berlioz’s Byronic symphony...[Ashkenazy and the Helsinki orchestra ] reveal the music’s narrative heart compellingly. Paganini’s own Sonata for viola and orchestra, scarcely on a par with Berlioz, nevertheless allows Carpenter to demonstrate his lyrical musicality and bravura.” The Telegraph, 22nd September 2011 ****

“The excellent violist David Aaron Carpenter has reinstated a virtuoso passage in the opening adagio, originally sketched for Paganini. With Ashkenazy and the Helsinki PO, he gives a masterly account of the work, glowing and incisive.” Sunday Times, 16th October 2011

“the undisputed star is the first recording of the more virtuosic, original version of Harold in Italy which is fully exploited by Carpenter's beguiling, beautiful tone and thrilling technique. The orchestra is no bit-part player here; Ashkenazy's ensemble throughout makes this an outstanding collaboration.” Classic FM Magazine, December 2011 ****

“Carpenter rises to all the challenges with great dexterity, preserving fine tone and pure intonation in the most (for the viola player) alarming situations...the performance of Harold, too, has much to recommend it - a fine-toned soloist, rhythmic, well-balanced orchestral playing and clear, bright recording. There are some especially imaginative touches of tone-painting” Gramophone Magazine, December 2011

“[Missa] gives Kriikku the chance to display all his tricks, from multiphonics to multi-tonguing, and from one extreme of register to the other, with quarter tones thrown in along the way...[Vie] generates some very striking textures within a formal scheme that manages to be both satisfying and quietly unconventional at the same time.” The Guardian, 25th November 2010 ***

“Krikkuu's account of the solo part in Missa is astonishing, but that's par for the course with this amazing musician. Almost as ear-awakening is the whipcrack virtuosity that John Storgårds gets from his Helsinki musicians. Ondine's recorded sound is first-rate too.” International Record Review, January 2011

“Frank Peter Zimmermann matches intensity with passionate virtuosity in this performance of Sibelius’s Violin Concerto, the Helsinki Philharmonic providing a backcloth of impressive detail, strength and incisiveness.” The Telegraph, 17th September 2010 ****

“Zimmermann...commits to the music with a controlled emotion, delivering a certain coolness to the first movement which moderates slightly as the passion intensifies for the second...The orchestral playing is incisive, rich and powerful especially in the two tone poems” Classic FM Magazine, December 2010 ****

“With his gorgeously ripe tone, easy swagger and intoxicating range of colour, Zimmermann is every inch the master. Storgårds, too, conducts with alert udnerstanding: those punchy tuttis in the first movement where Sibelius lets the orchestra off the leash are handled with watchful authority.” Gramophone Magazine, January 2011

“If there's a star on this disc it's Anni Kuusimäki, the harpist in the brief but weirdly touching tone-poem The Bard...Zimmermann is determined to peel off the mould of tradition and open up the work afresh...and accordingly gives us an urgent, powerfully driven view of this [first] movement.” BBC Music Magazine, February 2011 *****/***