Scottish Chamber Orchestra

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Maxwell Davies: An Orkney Wedding & other works

Maxwell Davies: An Orkney Wedding & other works


Davies, Peter Maxwell:

Concert Overture - Ebb Of Winter

Hill Runes

Last Door Of Light

Farewell to Stromness

An Orkney Wedding, with Sunrise


Sean Shibe (guitar)

Scottish Chamber Orchestra, Ben Gernon

The Scottish Chamber Orchestra and guitarist Sean Shibe join in a celebration of the life and works of the orchestra's much-loved Composer Laureate, Sir Peter Maxwell Davies.

“a worthy and deeply felt portrait of Max’s Orkney...The SCO and Ben Gernon are totally committed; guitarist Sean Shibe adds the tiny Hill Runes and the ever touching, ever so simple Farewell to Stromness.” The Guardian, 4th September 2016 ****

“this disc affords a fond farewell to the composer and the musical realisation of his adopted Orkney...And the idea behind the title piece, bagpipes at daybreak, again proves itself unbeatable.” Sunday Times, 11th September 2016

“[Maxwell Davies’s] long and fruitful association with the Scottish Chamber Orchestra included a previous recording of the Orkney Wedding, but Linn’s engineering is superior and crucially places Robert Jorgan’s climactic bagpipe solo towards centre stage. Ben Gernon secures playing of even greater spirit and accuracy than the composer, replete with shouts of glee” Gramophone Magazine, October 2016

“Aficionados will not mind hearing, yet again, those trademark Maxwell Davies devices of whooping horn glissandos and hyperactive chattering trumpets, especially when delivered with the Scottish Chamber Orchestra’s bombproof expertise; and Ben Gernon’s conducting of both works is forthright and immaculate” BBC Music Magazine, Christmas 2016 ****

Linn - CKD534

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$14.25

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Peter Maxwell Davies: Into the Labyrinth

Peter Maxwell Davies: Into the Labyrinth


Davies, Peter Maxwell:

Into the Labyrinth, Op. 111

Neil Mackie (tenor)

Sinfonietta Academica


The second of a set of three works for chamber orchestra written in 1983, and the only one using voice, 'Into the Labyrinth' was written for Neil Mackie and the Scottish Chamber Orchestra, and first performed by them at the St. Magnus Festival, in the Cathedral, Kirkwall, in June 1983, under the baton of James Conlon. This Unicorn reissue is the only recording currently available. The symphonic song-cycle in five continuous movements ponders the influence of modern times on ancient ways of life, with words from 'The Well' by George Mackay Brown.

The other works in the trilogy are 'Sinfonia Concertante' and 'Sinfonietta Academica': the latter recorded here was written by Maxwell Davies in 1983 for the quartercentenary of Edinburgh University. The first performance was given by the Scottish Chamber Orchestra conducted by Edward Harper in October 1983.

Unicorn - UKCD2022

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$14.50

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Schumann: Piano Concerto in A minor, Op. 54 - Vinyl Edition

Schumann: Piano Concerto in A minor, Op. 54 - Vinyl Edition

Limited Edition


Schumann:

Piano Concerto in A minor, Op. 54


Ingrid Fliter is set to thrill her fans with a new LP, eagerly awaited since her first, Chopin: Preludes, sold out within a year.

To make it extra special this is a 45rpm Supercut, 180g vinyl which gives you everything you love about LPs but more: better dynamics, less noise and a cleaner Hi-Fi response.

Fliter performs repertoire that is very close to her heart: the iconic piano concerto by nineteenth century heavyweight, Robert Schumann.

Fliter brings the lyrical romanticism of the A minor concerto to life whilst perfectly navigating the shifting colours and technical demands of this brilliant showpiece.

Schumann gives equal focus to soloist and orchestra, allowing the musicality of the SCO’s award-winning musicians to shine through, as they partner Fliter perfectly.

This also marks the recording debut of Antonio Méndez, who is fast becoming one of the most exciting conductors of his generation following engagements with a host of international orchestras.

Linn - CKH559

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Stravinsky: Choral Works

Stravinsky: Choral Works


Stravinsky:

Mass

Ave Maria

Pater Noster

Credo

Cantata

Tres sacrae cantiones (after Gesualdo)


Ruby Hughes (soprano) & Nicholas Mulroy (tenor)

Choir of St Mary’s Cathedral, Edinburgh & Scottish Chamber Orchestra Soloists, Duncan Ferguson

Since taking the helm of the St Mary’s choir in Edinburgh, Duncan Ferguson has directed them in four composer-led recording projects – featuring Taverner, John Sheppard, Bruckner and Gabriel Jackson. Every one of these discs has attracted editors’ choices from one or more specialist classical magazines. Now, in Ferguson’s most ambitious project to date, the choir are joined by players from the Scottish Chamber Orchestra and vocal soloists Ruby Hughes and Nicholas Mulroy to record major works by the twentieth century’s most influential composer. The choir rarely get to perform Stravinsky’s Mass in its full version with wind instruments accompanying rather than organ (‘We love it!’ proclaimed the choristers), while a performance of the Cantata with cathedral choristers rather than an adult choir is rare indeed. Also included are Stravinsky’s ‘completions’ of three cantiones sacrae by Gesualdo; their weird contrapuntal twists and turns are relished by this intelligent, committed choir, and provide a stark contrast to the austere simplicity of Stravinsky’s own short sacred choruses. Gabriel Jackson provides the illuminating accompanying essay.

“This disc shows off a choir of distinction. Their fresh, youthful sound (there are girl as well as boy choristers) lends colour to the studious dourness of Stravinsky’s deliberately monochrome Mass (1948) and Cantata (1952) on medieval English texts.” Sunday Times, 21st August 2016

“Edinburgh's mixed cathedral choir bring vernal freshness to the cantata.” BBC Music Magazine, August 2016

“The Choir of St Mary’s Cathedral, Edinburgh, give a youthful spin on the monochrome Mass.” Mail on Sunday, September 2016

“The real pleasure is in the choral sound, the Edinburgh boys alternately euphonious and pungent... Essential listening, good sleeve art and handsomely recorded.” The Arts Desk, September 2016

“Beautifully sung and blessed with outstandingly vivid recorded sound. We are brought close to the performers in an attractively resonant space, the best of both worlds for religious or quasi-religious fare in which clarity matters as much as atmosphere.” Gramophone Magazine, October 2016

“The choir sounds fresh and lively, thoroughly relishing Stravinsky’s angular vocal writing, while the SCO Soloists are no less engaged. Ferguson finds exactly the right tempi and a slightly detached level of expression…he is fortunate to have two fine soloists in Ruby Hughes and Nicholas Mulroy for Cantata…to round off their satisfying programme, Ferguson and his Edinburgh choir give an exemplary account of Tres sacrae cantiones…highly recommended.” Choir & Organ, September 2016

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Schumann & Mendelssohn: Piano Concertos

Schumann & Mendelssohn: Piano Concertos


Mendelssohn:

Piano Concerto No. 1 in G minor, Op. 25

Ingrid Fliter (piano)

The Fair Melusine Overture, Op. 32

Schumann:

Piano Concerto in A minor, Op. 54

Ingrid Fliter (piano)


Ingrid Fliter is set to thrill her fans with a new recording of piano concertos; eagerly awaited since her acclaimed recording of Chopin 1 & 2, which saw Fliter nominated for a Gramophone Award.

Fliter performs repertoire that is very close to her heart: concertos by two nineteenth century heavyweights, Schumann and Mendelssohn.

Fliter brings the lyrical romanticism of Schumann’s iconic Piano Concerto to life whilst perfectly navigating the shifting colours and technical demands of this brilliant showpiece.

The sparkling passagework and charming melodies which characterise Mendelssohn’s innovative G minor concerto demonstrate Fliter’s innate skill and pianistic instinct.

Following Fliter’s live performance of the Mendelssohn concerto one critic wrote: ‘In the beautiful second movement, time stood still.’

With both composers giving equal focus to soloist and orchestra, the musicality of the SCO’s award-winning musicians shines through as they partner Fliter perfectly.

This also marks the recording debut of Antonio Méndez, who is fast becoming one of the most exciting conductors of his generation following engagements with a host of international orchestras.

“there's still room for something fresh to be said with this evergreen music … in both the Mendelssohn and Schumann, Fliter plays with tautness and energy, fitting hand-in-glove with the smaller chamber-orchestra forces of the SCO and drier recorded sound. Heartfelt and intelligent, this is life-enhancing music, and as a bonus there's The Fair Melusina Overture.” BBC Music Magazine, May 2016

“The Mendelssohn concerto suits Fliter particularly well, and she’s alive to the impetuosity of the outer movements, as well as to the work’s more poetic elements…[her] command of the drama is second to none…[in the Schumann] the sense of an intimacy of chamber music-making is everywhere apparent…recommendable particularly for the Mendelssohn, and wonderfully warmly recorded” Gramophone Magazine, May 2016

“What really works for me is the Mendelssohn G minor concerto with Fliter exchanging the prettiness of some performances for a more dynamic interpretation, and glittering fingerwork that attracts some equally sparkling Reponses from the Scottish Chamber Orchestra under Antonio Mendez… wonderfully lithe, muscular performances.” CD Review, 7th May 2016

“a beautiful fit with the expressive world of pianist Ingrid Fliter. Several factors combine to make this an unusually satisfying Romantic piano concerto offering, but among them is the high-contrast approach of Fliter herself, really capturing the listener's attention… a standout recording.” All Music Guide, 24th April 2016

“Fliter is also in her element. Hers is a reading of firm, exhilarating impulse, at the same time taking its cue from the lyrical heart of the music and glowing with the limpid touch, golden timbre and subtle nuances that are hallmarks of her playing…. [on Mendelssohn] Fliter has the measure of the work.” Daily Telegraph, 7th May 2016

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Sir Peter Maxwell Davies - A Celebration of Scotland

Sir Peter Maxwell Davies - A Celebration of Scotland


Davies, Peter Maxwell:

An Orkney Wedding, with Sunrise

Jimmack

The Postie

Farewell to Stromness

Seven Songs Home

Lullabye for Lucy

Kinloche His Fantassie

Yesnaby Ground

Dances from 'The Two Fiddlers'

Renaissance Scottish Dances


George MacIlwham (Highland bagpipes) & Sir Peter Maxwell Davies (conductor/pianist)

Scottish Chamber Orchestra, Choir of St. Mary's School, Edinburgh

Peter Maxwell Davies’ own recordings of his most popular works. A perennial bestseller.

“Davies is a master story-teller in this vividly detailed tone painting….” Gramophone Magazine (An Orkney Wedding)

Unicorn - DKPCD9070

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$14.50

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Haydn: Symphonies Nos. 31, 70 & 101

Haydn: Symphonies Nos. 31, 70 & 101


Haydn:

Symphony No. 31 in D major ‘Horn Signal'

Symphony No. 70 in D major

Symphony No. 101 in D major 'The Clock'


Read Presto's complete review of this disc here.

This recording is the first of two which sees Robin Ticciati and the Scottish Chamber Orchestra present an overview of Haydn's symphonic repertoire.Ticciati's approach takes the best elements of authenticity present in period performances, but with the dynamic range, space, colour and life that modern performance practice brings.

Ticciati beautifully highlights the lines,clarity and shape of the music,a skill he brought to bear in his Schumann symphonies recording which garnered several five star reviews and accolades upon release.Always popular with symphony orchestras Haydn has occasionally been treated a little too tidily , but these performances are alive and excitingly fresh.

From Haydn's early period the Baroque influenced Horn Signal has an almost Gothic tinged feel with highly contrapuntal elements.Comparatively, the first of Haydn's famous London Symphonies, The Clock , has its focus firmly on the future.Due for release in 2016, the second recording in the series will include three further London symphonies from Haydn's late period.

Robin Ticciati's recordings have received many accolades: Critics Choice Sound of 2012 (The Independent),Classical CD of the Week (Sunday Times), Disc of the Week (BBC Radio 3 CD Review ), two Top 10 entries in The Sunday Times Best Classical Albums list (2012 & 2014) and Recording of the Month (Gramophone).Robin Ticciati is in his fifth season as Principal Conductor of the Scottish Chamber Orchestra. He began his tenure as Music Director of Glyndebourne Festival Opera in May 2014.

Gramophone named Robin one of the top ten young conductors on the verge of greatness and one of 'Tomorrow's Icons'.Scottish Chamber Orchestra celebrated it fortieth anniversary year in 2014; this is its twenty third recording with Linn.

“Ticciati’s decision to programme three symphonies in D major from different stages of Haydn’s career is a clever and attractive one. Of his 104 numbered works in the genre, there is scarcely a dud, but these are all gems...The SCO revel in the brio, dash and pathos of this life enhancing music.” Sunday Times, 23rd August 2015

“absolute perfection.” Pizzicato

“They have a lovely feel for that early, more baroque kind of Haydn. They actually give us what is effectively a three symphony overview… with plenty of punch character and colour. I gather this is volume one – they are going to be releasing three more of the symphonies next year, and on the strength of this first one I’ll definitely be listening.” CD Review, 12th September 2015

“To compare Haydn's D major moods at the early, middle and late stages of his career, this is a valuable collection, finely recorded and beautifully packaged.” Gramophone Magazine, September 2015

“[Ticciati is] a deeply thoughtful musician who takes time to ponder exactly what he wants from every bar. This quality is very much evident in a new disc of three Haydn symphonies with the Scottish Chamber Orchestra...Although a modern-instrument ensemble, the players apply aspects of period performance practice, not least in the strings, where vibrato is kept to a minimum and used as an expressive device rather than a default position.” James Longstaffe, Presto Classical, 18th September 2015

“The performances, though on modern instruments, pay attention to matters of period style - every repeat observed, careful balance between parts…the SCO is everywhere on wonderfully characterful form; its close rapport with the conductor produces music-making [that is] appealingly fresh.” BBC Music Magazine, December 2015

“The sprucely animated, vibrantly characterised performances of the Symphony No 31 (The Hornsignal) from the 1760s, No 70 from 1779 and No 101 of 1794 (The Clock) show that there is so much to think about in interpreting a score by Haydn. Fascinating, buoyant, lucid and humane, they prove that Ticciati has got the Scottish Chamber Orchestra just where he wants it.” The Telegraph, 26th October 2015 *****

“This generous, well-recorded disc simply fizzles. Wind solos are full of character, string playing is delightfully pointed and the whole enterprise is infused with joy and light. Worth investing in even if you already own other versions of these works.” Classical Music, December 2015 *****

Presto Disc of the Week

18th September 2015

Presto Discs of 2015

Finalist

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Mozart: Opera Arias and Overtures

Mozart: Opera Arias and Overtures


Mozart:

Le nozze di Figaro, K492: Overture

Deh vieni, non tardar (from Le nozze di Figaro)

Elizabeth Watts (soprano)

Idomeneo, K366: Overture

Quando avran fine omai ... Padre, germani, addio! (from Idomeneo)

Elizabeth Watts (soprano)

Don Giovanni, K527: Overture

Batti, batti, o bel Masetto (from Don Giovanni)

Elizabeth Watts (soprano)

Vedrai, carino (from Don Giovanni)

Elizabeth Watts (soprano)

La clemenza di Tito, K621: Overture

S'altro che lacrime (from La clemenza di Tito)

Elizabeth Watts (soprano)

La finta giardiniera, K196: Overture

Appena mi vedon (from La finta giardiniera)

Elizabeth Watts (soprano)

Così fan tutte, K588: Overture

Ei parte...Per pietà (from Così fan tutte)

Elizabeth Watts (soprano)


Scottish Chamber Orchestra, Christian Baldini

The Scottish Chamber Orchestra has established impeccable Mozartian credentials with its award-winning discography, to which Mozart: Opera Arias and Overtures is the latest addition.

The SCO’s previous forays into operatic repertoire (Handel with soprano Emma Bell and Mozart, Haydn & Cimarosa with baritone William Berger) have been highly critically acclaimed.

This recording features a hand-picked selection of arias from six of Mozart’s much-loved operas, alongside their respective overtures.

The SCO’s affinity with Mozart’s music is demonstrated with perfect eighteenth-century style in the overtures; whilst the arias see the orchestra lend characterful support.

Award-winning soprano Elizabeth Watts has performed in Don Giovanni at Covent Garden, Così fan tutte for Glyndebourne on Tour and Le nozze di Figaro for Santa Fe Opera and Welsh National Opera; she utilises her experience to create memorable performances.

A love of Mozart inspired conductor Christian Baldini to make music his career so it is fitting that his recording debut with the SCO features repertoire that is so close to his heart.

With a voice described as ‘one of the most beautiful Britain has produced in a generation’ (IRR), Elizabeth Watts has established herself as ‘one of the brightest new talents’ (The Independent).

Watts won the 2006 Kathleen Ferrier Prize and the Rosenblatt Recital Song Prize at the 2007 BBC Cardiff Singer of the World Competition.

In 2014 Watts performed in London’s most prestigious venues including the Royal Opera, Covent Garden; the Festival Hall and at the Last Night of the Proms in the Royal Albert Hall.

Christian Baldini is a dynamic artist with a ‘keen ear for detail' (The Scotsman). He regularly conducts several international orchestras including the SCO, and opera for the Aldeburgh Festival.

The Scottish Chamber Orchestra is a world-renowned orchestra with an outstanding reputation for Mozart.

The SCO’s extensive series of Linn recordings feature Robin Ticciati, Sir Charles Mackerras, Ingrid Fliter, Emma Bell, William Berger, Karen Cargill, Artur Pizarro, Alexander Janiczek and Joseph Swensen.

“Watts is a rising British talent in this repertoire, but her Susanna and Ilia occasionally sound fierce. Her Zerlina is sweeter, and she hits form with Fiordiligi’s Per pieta, from Così fan tutte.” Sunday Times, 14th June 2015

“Watts's lyric soprano has gradually ripened and deepened without losing its purity. With its admixture of mezzo warmth allied to secure, shining high notes, hers is now an ideal Fiordiligi voice. In 'Per pieta' her technical mastery (immaculate runs, precipituous leaps taken with poise) and urgency of feeling make one eager to hear her in the role on stage.” Gramophone Magazine, July 2015

“The glorious voice of Elizabeth Watts – now established as one Britain’s leading sopranos – more than justifies the purchase price...Christian Baldini makes an impressive recording debut with the SCO, bringing real drive and focus to overtures.” The Observer, 28th June 2015 ****

“This disc shows, and in supremely vivid sound, that a delightful light lyric soprano is on the cusp of becoming something greater…her discreet ornamentation, unforced tone and careful vocal emphasis all seem nigh on perfect.” BBC Music Magazine, September 2015

“Watts has put together a cracker of a programme … the aria ‘Cara tomba’ is one of several hear-stoppingly beautiful moments on the disc. Watts, Cummings and the English Consort make an ideal partnership in what is one of the most thrilling albums of its kind I’ve heard in recent years; I can’t recommend this recording highly enough.” Early Music Today, September – November 2015

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Schumann: Symphonies Nos. 1-4 (complete)

Schumann: Symphonies Nos. 1-4 (complete)


Robin Ticciati talks to Presto's David Smith about Schumann here.

‘Schumann: The Symphonies’ sees Robin Ticciati and the Scottish Chamber Orchestra embark upon their first symphonic cycle together in a programme that they performed in concerts across Scotland.

This is music that is very close to Robin Ticciati’s heart; he describes Schumann as one of his favourite composers and has often spoken about how important poetry, colour and story are to Schumann’s music.

Symphony No. 1 'Spring', blazes and sparkles with joy, Symphony No. 2 finds its way carefully through to the safe haven of its final movement, the much-loved Symphony No. 3 ‘Rhenish’ moves with huge ease and assurance to a resonant and joyful conclusion.

Symphony No. 4 is radical in the way each movement attacks the start of the next movement with barely a pause, and in its minute-and-a-half-long, shimmering and horn-call-filled transition to the finale. Under Ticciati and the SCO it is magnificent, the radical, soaring, disturbing and exhilarating symphony Schumann intended.

The SCO’s smaller forces bring a lightness of touch and a clarity to the counterpoint; under Ticciati they achieve a sense of movement that no previous recording has.

Robin Ticciati’s recordings have received many accolades: Critics' Choice 'Sound of 2012' (The Independent), 'Classical CD of the Week' (Sunday Times), 'Disc of the Week' (BBC Radio 3 'CD Review'), No. 3 in The Sunday Times’ Best Classical Albums of 2012 list and ‘Recording of the Month’ (Gramophone).

In October 2014 Robin Ticciati will enter his sixth season as Principal Conductor of the Scottish Chamber Orchestra. He began his tenure as Music Director of Glyndebourne Festival Opera in May 2014.

Gramophone named Robin one of the top ten young ‘conductors on the verge of greatness’ and one of 'Tomorrow's Icons' by Gramophone.

2014 is the Scottish Chamber Orchestra’s fortieth anniversary year and ‘Schumann: The Symphonies’ its twenty second recording with Linn.

“Ticciati clearly knows how he wants this music to go and his strong parnership with the Edinburgh players enables him to shape readings notable for their energy and individuality...Throughout the performances are characterised by a woodwind sweetness that is becoming a trademark of this orchestra.” Gramophone Magazine, September 2014

“perhaps the most impressive thing that Ticciati has done on disc so far. Every bar in these urgent performances with the Scottish Chamber Orchestra seems alive and full of interest...in each symphony there is the sense of careful consideration and total absorption in the music so that not a detail of Schumann’s scoring goes missing. Everything flows with total naturalness.” The Guardian, 17th September 2014 *****

“The music-making on this splendid album gives abundant evidence of a happy marriage: you don’t get playing this focused and vigorous if everyone’s in a bad mood...There is lilting flow here, too, plus delicate textures, from the winds especially: all ingredients in performances that make you experience the symphonies’ wonders afresh.” The Times, 19th September 2014 ****

“Ticciati adopts near-ideal tempi, refusing to drag in the slow movements — and he is propulsive in Schumann’s energetic, animated allegros. The wind soloists throughout effortlessly take centre stage, but the splendidly swaggering horns, especially in the Rhenish and D minor works, deserve special mention.” Sunday Times, 12th October 2014

“Ticciati's new recording with the Scottish Chamber Orchestra of Schumann's four symphonies hits the mark… The lightness and buoyancy that are so much a feature of these masterpieces can be heard right across the stunning, super-articulate SCO performances.” Herald Scotland, 29th September 2014

“Ticciati joins the distinguished list of today’s conductors treating Schumann’s Symphonies with the respect they deserve. At times he includes a few personal notions but each of them throws light on the passage in question.” classicalsource.com

Presto Discs of 2014

Finalist

BBC Music Magazine

Orchestral Choice - November 2014

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Chopin: Piano Concertos

Chopin: Piano Concertos


Chopin:

Piano Concerto No. 1 in E minor, Op. 11

Piano Concerto No. 2 in F minor, Op. 21


Award-winning pianist Ingrid Fliter makes her Linn debut with a distinctive performance of Chopin’s notoriously difficult piano concertos, featuring the Scottish Chamber Orchestra conducted by Jun Märkl.

Since winning the silver medal at the 2000 Frederic Chopin Competition in Warsaw, Ingrid has built a reputation as a first-rate Chopin interpreter.

Fliter has previously recorded two all-Chopin discs; her interpretation of the complete Chopin Waltzes received several five star reviews and was named as the Telegraph's ‘CD of the Week’ and Classic FM Magazine's ‘Editors Choice’.

Chopin’s Piano Concerto No. 1 is a thoughtfully scored composition that allows the piano to shine. The Scottish Chamber Orchestra’s beautifully delicate playing perfectly highlights Fliter’s authoritative, yet expressive performance.

Fliter carefully and skilfully showcases the range of tones in Chopin’s second piano concerto, from the dramatic introductory chords at the opening of the first movement to the sweetly lyrical second movement where the Scottish Chamber Orchestra’s woodwinds vie for centre stage. Fliter is a breathtaking performer whose performance of Chopin’s commanding chords and lightening speed runs are effortless.

Ingrid Fliter first sprang to international attention when she was awarded the 2006 Gilmore Artist Award, one of only a handful of pianists to have received this honour.

Ingrid Fliter was also selected as a BBC Radio 3 New Generation Artist from 2007-2009, working with several of the BBC orchestras under the auspices of this programme.

Ingrid Fliter works with orchestras such as Philharmonia Orchestra, Royal Liverpool Philharmonic, City of Birmingham Symphony, Royal Scottish National Orchestra and Scottish Chamber Orchestra.

2014 is the Scottish Chamber Orchestra’s fortieth anniversary year; ‘Chopin: Piano Concertos’ is its twenty first recording with Linn.

Conductor Jun Märkl is constantly in demand with the world’s leading orchestras and soloists, having studied with Leonard Bernstein and Seiji Ozawa.

“there's nothing small-scale about Fliter's performances. This is very much Chopin playing in the great tradition: rich-toned, generous though never profligate with its rubato, and invested with a vast range of keyboard colour. It's all put together meticulously too” The Guardian, 28th February 2014 ****

“True, she sails perilously close to over-sentimentalising the opening Romanza...but Fliter plays with grace and heartfelt sincerity - abetted by some lovely duetting with the SCO's bassoonist - that...I was quickly won over...Fliter, by whatever magical means, touches the heart.” Gramophone Magazine, March 2014

“With so many first-rate recorded performances of varying vintages and in different price-ranges did we need another recording? Emphatically yes, if it’s as good as this new Linn CD...There’s plenty of bravura and power in the outer movements without any sense of showing off and there’s poetry in the slow movements.” MusicWeb International, 13th March 2014

“A chamber ensemble of the calibre and responsiveness of the SCO is the ideal medium in which to appreciate the fact that there is a good deal more subtlety of colour and texture to Chopin’s scoring than is generally acknowledged...Then there is Fliter’s playing, and what a pure joy it is. Power, delicacy, refinement and passion are all there in these two concertos.” The Telegraph, 21st March 2014 *****

“Fliter’s beautifully considered accounts of the two Chopin concertos...reveal a sensibility of rare emotional refinement and high Romantic instincts...She has plenty of delicacy for the bel canto flourishes of the opening movements, and muscle for the bravura of the folk-dance finales. Solid accompaniments, too.” Sunday Times, 23rd March 2014

Presto Discs of 2014

Finalist

GGramophone Awards 2014

Shortlisted - Concerto

GGramophone Magazine

Editor's Choice - March 2014

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