Toru Takemitsu

“what really makes this performer so magnetic and distinctive is the quality of the notes that tumble so effortlessly from whatever trumpet she holds in her hands, and whatever music she plays....[Zimmermann's] stylistically eclectic, passionate plea for racial harmony makes an immediate impact, especially when jazz kicks in and the music excitingly hurtles forward two thirds of the way through.” The Times, 6th January 2012

“the highlight is James MacMillan's "Seraph", with the assertive opening brio giving way to a more reflective Adagio dialogue between trumpet and violin, before emerging refreshed for the animated closing movement.” The Independent, 6th January 2012 ***

“[Macmillan's concerto] deftly combines trumpet and strings in music that ranges from the incisiveness of its first movement, via the 'seraphic' plaintiveness of its lightly textured Adagio to the robust interplay of the finale. Balsom takes its not inconsiderable demands in her stride, with the Scottish Ensemble unstinting in its support.” Gramophone Magazine, February 2012

“[Balsom] plays [the Macmillan] radiantly with the Scottish Ensemble. Concertos by Alexander Arutiunian and Bernd Alois Zimmermann, played with the BBC SSO, highlight Balsom’s technical and interpretative aplomb.” The Telegraph, 18th January 2012 ****

“'Seraph' is concise and communicative, and, as expected from Macmillan, approachable. Balsom gets its (one hopes) long career off to a strong start...[in the Zimmermann] Balsom is in her element. She advocates for this music with passion and dignity, and the strength of her technique allows her to focus on communicating the work's emotional content...this disc speaks well of her continuing maturation as an artist.” International Record Review, January 2012

“Seraph may not quite be another Veni, Veni Emmanuel...But it's still very enjoyable, from the Haydn-tinged jollity of the first movement, through a mysterious and lyrical slow movement to the rousing finale...Balsom is a superb advocate, combining technical brilliance with penetrating musicianship - a true poet of the trumpet as well as a formidable athlete.” BBC Music Magazine, March 2012 *****

“Balsom’s glorious sound makes you forgive any musical shortcomings [in the Arutunian]...Less pretentious and more musically satisfying than one has any right to expect, [the Zimmermann] is possibly a masterpiece...there’s something calmly uplifting about good brass playing. And this disc, well, uplifts.” The Arts Desk, 24th March 2012

“I like Takemitsu best when there's rigorous tension put between his soft-focus, stylised figurations...Here the balance is perfect...After Takemitsu, Shostakovich's urgent 'listen to this' message, each harmonic sidestep loaded with interference, is a shock. I like the dynamic detail Sado lavishes on the first movement...And another sound reason to buy this DVD: all proceeds will be donated to the Japanese Red Cross to help victims of the 2011 tsunami.” Gramophone Magazine, March 2012

“[Sado] digs unostentatiously deep in both the fluid and monumental aspects of this concert, given to raise funds for the Japanese earthquake and tsunami disaster. Much in the two chosen works is both complementary and appropriate...A short interview with Sado tells us little; but what he achieves in performance is unquestionably beyond words.” BBC Music Magazine, March 2012

“a performance of alluring poise. Some may find the seamless tonal blend and peerless technical accomplishment over-manicured (even counter-productive) bearing in mind the music's historical context, but taken on its own terms one can hardly help but be galvanized by its supreme expertise.” International Record Review, June 2012

“A fascinating and superbly performed programme which balances the Bartókian Quartet of Yashiro with more avant-garde offerings from Takemitsu and his younger contemporaries.” BBC Music Magazine, May 2009 ****

“This is the first recording of … Tan Dun's Pipa Concerto, and it's an absolute knockout. With strong, vigorous direction from Yuri Bashmet and some wonderfully extrovert playing from both the Moscow Strings and well known pipa exponent Wu Man, Tan's overt theatricality bursts forth like a rampant Chinese dragon. Bashmet is the soloist in both Nostalghia and Elegia, and it would be difficult to find a better advocate for these works.” Gramophone Magazine, October 2008

“Tan Dun’s four-movement Pipa Concerto...is, as one might expect, eclectic, vibrant, colourful and immediate; but, as with much of his work, the piece seems more theatrical effect than substance. Wu Man plays the pipa - a Chinese-style lute - beautifully. [In Hayashi's Viola Concerto] Yuri Bashmet gives the viola solo part with his usual powerfully rich tone, and he is equally good on the violin in Takemitsu’s Nostalghia (1988), a meditative tribute to the film director Andrei Tarkovsky. The Moscow Soloists, superb throughout, also give three extracts from Takemitsu’s large canon of film music.” Sunday Times, 25th May 2008 **

“the performer is Roger Woodward, whose task sounds to have been most sympathetically executed.” Gramophone