Johann Sebastian Bach

Gramophone described her Bach album as “splendid stuff” and the pieces “showcase Balsom’s phenomenal technique and gleaming expressiveness”

“…as a showcase for this young artist's mesmerising virtuosity the disc does its job admirably, and presents some familiar and less familiar Bach in new guises at the same time. The supporting instrumentalists, especially organist Colm Carey, make a sterling contribution...” BBC Music Magazine, February 2006 *****

“A disc of arrangements which is impressive on every level. Beautifully mellow playing contrasting with virtuosic moments.” Classic FM Magazine, March 2006 *****

“Two transposed movements from BWV1008 and a mischievous solo take on the Badinerie (from BWV1067) showcase Balsom's phenomenal technique and gleaming expressiveness. Period-instrument practitioners Alina Ibragimova, Mark Caudle and Alastair Ross provide superb accompaniment in a charismatic version of the Trio Sonata. A surprisingly diverse range of textures and moods makes this disc a beguiling experience.” Gramophone Magazine, May 2006

“Truls Mørk's formidable technique is evident in fine recordings of Romantic cello repertoire. For Bach, he's admirably restrained - light transparent tone, minimal vibrato, and subdued dynamic range.” BBC Music Magazine, March 2006 ***

“No longer do we have to look to period instrument players for stylistic awareness. In Mørk's case, correctness doesn't lead to a reserved manner: rather, the style of each piece releases a creative spirit allowing him to play freely and flexibly while keeping the structure clear. Mørk's chord playing is one of the most impressive aspects of his technique - in the Sixth Suite the chords in the Sarabande have a memorable expressive effect, while in the following Gavotte they give a beautiful lift to the rhythm. ...these are commanding performances, inspired by the composer's own unquenchable spirit.” Gramophone Magazine, February 2006

"Her tone is powerful, warm and round, her technique perfect, her musical competency makes her conclusive interpretation of such a complicated piece as Bartòk's sonata for solo violin possible... Baiba Skride has what it takes for a great career" (Rondo)

“…Baiba Skride… is… indeed a magnificent player, with a bold style that puts strong expression foremost, yet without any compromise in tonal quality or accuracy.” Gramophone Magazine, March 2006

“Jacqueline du Pré was 20 when she recorded Elgar's Cello Concerto with Barbirolli and the LSO August 1965 – an interpretation universally acclaimed for its profound expressiveness (see above). A second recording, taped live in 1970 with Daniel Barenboim and the Philadelphia Orchestra, has proved more controversial; du Pré's radiant intensity remains undimmed but instead of the nobility found in the EMI account one hears desperation, or something close to it.
This new Testament disc makes public another live document, recorded in Prague with Barbirolli and the BBC Symphony Orchestra. The general shape of this performance resembles the EMI recording, not surprisingly given that the studio session had taken place a little more than a year before. But while du Pré was always an electric player, the voltage clearly increased before an audience. One hears the difference immediately as she digs into the opening solo with startling urgency. Tempi, in general, are noticeably faster; and although Barbirolli and the orchestra occasionally fall behind, the phrasing is longer-breathed and the sections flow more smoothly one into the other.
Du Pré (onstage and a year on from the EMI version) finds a greater variety of mood in the score. The dolcissimo Elgar asks for at fig 8 (starting at 3'58" in the first movement) evokes an audible smile in the cellist's sound, for example.
Or try her magical way with the swooping phrase at 3'10" in the Adagio: the high note is floated beautifully in the studio but in concert her tone and timing take one's breath away. Best of all, perhaps, is the finale's Poco più lento (beginning at 6'42"), where du Pré's playing has an emotive force and eloquence akin to the greatest Shakespearian oratory – Barbirolli and the orchestra provide splendid support here.
Youthful (and previously released) interpretations of Bach's first two cello suites round out the disc, but the Elgar here is valuable enough to merit the highest possible recommendation.” Gramophone Classical Music Guide, 2010

“Jacqueline de Pré was 20 when she recorded Elgar's Cello Concerto with Sir John Barbirolli and the LSO in August 1965… This new Testament disc makes public another live document, recorded in Prague with Barbirolli and the BBC Symphony Orchestra. …while du Pré was always an electric player, the voltage clearly increased before an audience. One hears the difference immediately as she digs into the opening solo with startling urgency. Tempi, in general, are noticeably faster... I would venture to say, too, that du Pré (onstage and a year on) finds a greater variety of mood in the score. Best of all, perhaps, is the finale's Poco più lento (beginning at 6'42"), where du Pré's playing has an emotive force and eloquence akin to the greatest Shakespearian oratory - Barbirolli and the orchestra provide splendid support here.” Gramophone Magazine, February 2006

“The world's leading viol consort” The Independent

“These performances show their age in their thick choral tone and sluggish tempos. But the strong line-up of soloists still register positively.” BBC Music Magazine, March 2006 ***

“Enrapt by an infectious and consistent conceit of gravitas, this unusual quartet of Bach concerto transcriptions presents one of the most richly coloured discs of its kind. …a potent and brilliantly conceived recording, presenting Bach in bright new lights.” Gramophone Magazine, March 2006

“AAM Berlin play superbly” The Independent on Sunday