Jonathan Freeman-Attwood
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Freeman-Attwood’s sound is mellifluous and gentle, delicately inflected with vibrato, especially in ‘With thee th’unsheltered moor I’d tread’ from Solomon. He is complemented by Szałucka’s deft... — More…
Awards:
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Gramophone Magazine, February 2024, Editor's Choice
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A Portrait of Vaughan Williams
Michael Bochmann (violin), Margaret Campbell (flute), Colin Lilley (flute), Audrey Douglas (harp), Maurice Bourgue (oboe), Susan Lynn (violin), Pierre Joubert (violin), Helen Roberts (viola), Thomas Waddington (cello), Timothy Mirfin, Peter Gritton, Ian Barratt, David Le Monnier, Paul Martin, Jonathan...
4 CDs
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There’s no doubting the technical prowess of these two crack performers, and it’s hard not to share their guilty delight in this stolen booty: intonation and ensemble are spot-on, rhythms pulse,... — More…
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Purists look away now. Having already viewed various Baroque and Romantic works through the prism of trumpet and piano, Jonathan Freeman-Attwood and Daniel-Ben Pienaar now reimagine composers'... — More…
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Fauré: Lydia’s Vocalises Jonathan Freeman-Attwood (trumpet), Roy Howat (piano), Daniel-Ben Pienaar (piano)
these vignettes are far from dry exercises: they embody the deceptively easygoing lyricism of Faur'e songs, making this an unexpected treasure-trove of his melodic invention. — More…
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Jonathan Freeman-Attwood's playing is notable for the beauty and freedom of line of his lyrical phrasing, while the bravura is exhilarating. Daniel-Ben Pienaar's accompaniments are boldly supportive... — More…