Gramophone Magazine Editor's Choice

April 2012

Disc of the Month

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Rautavaara: Modificata, Towards the Horizon & Incantations


Gramophone Awards 2012

Best of Category - Contemporary

Gramophone Magazine

Disc of the Month - April 2012



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Rautavaara: Modificata, Towards the Horizon & Incantations

World Première Recordings


Cello Concerto No. 2 'Towards the Horizon'

Truls Mørk (cello)


Percussion Concerto 'Incantations'

Colin Currie (percussion)


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This new recording couples Finnish composer Einojuhani Rautavaara’s latest concerto works with an orchestral piece from his early Modernist period (Modificata; 1957/2003)

The virtuoso Percussion Concerto Incantations (2008) features the Scottish percussion soloist Colin Currie, who is the dedicatee and première performer of this work. Currie wrote himself the virtuoso cadenza to the final movement.

Rautavaara’s Second Cello Concerto Towards the Horizon (2009) was written for cellist Truls Mørk and plays continuously in one 20-minute movement. Reviewing the premiere the Star Tribune noted that the composer “acknowledges a ‘taste for eternity’ and a vain of mysticsm runs through his work.”

Einojuhani Rautavaara is recognized as one of the most notable Finnish composers after Jean Sibelius. His recordings on Ondine have been bestsellers and garnered numerous awards (including a recent GRAMMY nomination for his opera Kaivos).

Under their chief conductor John Storgårds, the Helsinki Philharmonic Orchestra builds on long-time pedigrees of performing their compatriot’s music.

Einojuhani Rautavaara: Cello Concerto No. 2, "Towards the Horizon"

I. Theme

II. Variations of the theme

III. Finale

Einojuhani Rautavaara: Modificata

I. Praevariata

II. Meditatio

III. Affectio

Einojuhani Rautavaara: Percussion Concerto, "Incantations"

I. Pesante

II. Espressivo

III. Animato (cadenza by C. Currie)

BBC Music Magazine

May 2012


“A late and lush harvest of works by octogenarian Einojuhani Rautavaara continues apace. Here we have eagerly awaited documentation of his two latest neo-Romantic concertos, in beautifully recorded and definitive performances by the soloists who are their dedicatees.”

International Record Review

May 2012

“John Storgards and the Helsinki Philharmonic lay down a basic sound of Axminster luxury throughout the disc”

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Moriz Rosenthal: Complete Solo Recordings

Moriz Rosenthal: Complete Solo Recordings

COMPACT DISC 1 (75’07)

Victor Talking Machine Company, Camden, New Jersey, USA 8 May 1928

Okeh, New York March or April 1928

Thomas A. Edison Inc., West Orange, New Jersey, USA March & April 1929

COMPACT DISC 2 (73'31)

Lindström group (Odeon and Parlophone), Berlin 1929, 1930 & 1931

COMPACT DISC 3 (78'27)

Lindström group (Odeon and Parlophone), Berlin continued 1930 & 1931

Ultraphon, Berlin 16 April 1930

Gramophone Company Ltd. No. 3 Studio, Abbey Road, London 1934 & 1935

COMPACT DISC 4 (67'24)

Gramophone Company Ltd. No. 3 Studio, Abbey Road, London continued 1935–1937

COMPACT DISC 5 (71'29)

RCA Victor, Camden, New Jersey, USA June 1939 & March 1942

British Broadcasting Corporation, London 24 March 1935 (live broadcast)

National Broadcasting Company, New York 19 December 1937 (live broadcast)

Repertoire includes Chopin Piano Concerto No.1 (Berlin State Opera Orch./Weissmann), Sonata No 3, Berceuse, Tarantelle and many Etudes, Mazurkas, Nocturnes, Preludes & Waltzes, also works by Albeniz, Debussy, Handel, Liadov, Liszt, Schubert, and Rosenthal himself.

Moriz Rosenthal (piano)

Moriz Rosenthal was from the earliest generation of pianists to have made a significant number of recordings, and he was also one of the more important Liszt pupils, therefore his legacy is of the utmost importance as representative of 19th century style.

In his youth he was renowned as being one of the supreme technicians and, although he began to record only in old-age, this can still be heard in his own two Strauss paraphrases recorded here; still today pinnacles of the most ridiculous virtuosity. But it is for his Chopin above all that Rosenthal should be remembered. In his youth he studied with the composer’s most important student, Karol Mikuli, and his uniquely free lyricism in the Mazurkas and other miniatures must surely be considered close to the composer’s own.

This is the first time all Rosenthal’s recordings have been transfered to CD and two recent discoveries issued only in Argentina and Japan respectively and known only in unique copies are included, as is a beautiful live performance from his 75th birthday concert.

“one of the indisputably great pianists in history, albeit captured when he was judged to be past his prime (he was 65 when he made his first disc recording) - though few living pianists at the height of their powers can equal the sexagenarian Rosenthal in his own dizzying Fantasy on Themes from Johann Strauss...this is, quite simply, pianophile heaven.” Gramophone Magazine, April 2012

GGramophone Magazine

Re-issue of the Month - April 2012

APR - APR7503

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Aa: Up-close

Aa: Up-close

Sol Gabetta (cello) & Vakil Eelman (actress)

Amsterdam Sinfonietta, Candida Thompson (artistic director)

Part cello concerto, part film opera, Dutch composer Michel van der Aa’s Upclose explores the human condition through reflected and overlapping sounds, images and plotlines. On this DVD, recorded during a European tour in March 2011, it is performed by its dedicatees, the much admired young cellist Sol Gabetta and the Amsterdam Sinfonietta, while Vakil Eelman plays the solitary elderly lady in the filmed segments.

A solo cellist begins with a melancholy, yet insistent soliloquy. As the string orchestra behind her joins in, an image suddenly appears on screen. In the middle of a deserted concert stage, laid out exactly as for the concerto, an old woman is seen scribbling coded messages on sheets of paper. Her actions and those of the cellist come closer and closer until at the end they mimic one another, without ever completely connecting. Images and music leak from screen to stage and back again in a poetic exploration of the rituals of communication.

Themes of virtual reality and plural identities have been present in Van der Aa’s music for ten years, but in the riveting Up-close he goes even further, folding sound and screen over and over on themselves until certainty slips completely from the audience’s grasp.

Gramophone’s Young Artist of the Year in 2010, the Argentine-French cellist Sol Gabetta impresses wherever she plays with her captivating interpretations, her passionate, fullbodied playing and her charismatic personality. A Sony recording artist, since 2006 she has directed the Solsberg Festival in Switzerland, her chosen home, and recently founded the Baroque orchestra, ‘Capella Gabetta’.

DVD specifications:

Region: 0 (All Regions)

Duration: 31 mins

Picture Format: PAL, 16:9 anamorphic widescreen

Sound Format: PCM stereo, Dolby and DTS surround audio

Subtitles: None

“Michel van der Aa's enterprising synthesis of sound and vision continues with a work which transcends its hybrid nature in audacious fashion...Sol Gabetta has the crucial role - moving as she does with enviable dexterity between platform and film-screen, though without any impairing of either her commitment or musicianship in what is a fluent and dynamic account of an imaginative score.” Gramophone Magazine, April 2012

GGramophone Magazine

DVD of the Month - April 2012

DVD Video

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Format: PAL

Disquiet Media - DQM04

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Tchaikovsky: Piano Concerto No. 1

Tchaikovsky: Piano Concerto No. 1


Sonetti di Petrarca (3) for piano, S. 158

Totentanz, S126 for piano & orchestra

Ion Marin


Piano Concerto No. 1 in B flat minor, Op. 23

Alexandre Rabinovitch-Barakovsky

These are stunning live recordings made at the Progetto Martha Argerich Festival, Lugano. This CD is an absolutely must-have for piano lovers. Whilst some might be astonished by the liberties taken by the artists, most will be thrilled by the sheer joy and excitement emanating from these performances.

“a pianist of electrifying brilliance. Liszt’s Totentanz is, of course, all demonic brilliance — Tiempo attacks it with ebullient swagger. If there’s a meandering feeling to much of his take on Tchaikovsky’s First Piano Concerto, the finale bristles with excitement.” Sunday Times, 22nd January 2012

“A strong sense of lyricism and a taut technique colour...Tiempo is a graduate of Martha Argerich's Lugano Project and it shows: the hurtling passions and moments of introversion in the Tchaikovsky are cleverly navigated.” The Independent on Sunday, 29th January 2012 ****

“Tiempo is not hidebound by barlines and regularity of metre, and there's a degree of rhythmic waywardness and freedom which allows him to unfold these works in an improvisatory manner..With so many performances these days that are somewhat conservative and predictable, it's wonderful to encounter a young firebrand who has so much to say, with a prodigious technique married with the widest range of tone and colour.” International Record Review, February 2012

“he more than fulfills his early and extraordinary promise. Indeed, it is no exaggeration to say that he may well be the most dazzling and spontaneous pianist of his generation. At every point he turns up the heat to near boiling point, joyfully and unapologetically flaunting his virtuoso bird-of-paradise feathers...this is a record in a thousand.” Gramophone Magazine, April 2012

GGramophone Magazine

Editor's Choice - April 2012

Avanti - AVANTI10382



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The Music of Poul Ruders, Volume 7

The Music of Poul Ruders, Volume 7

World Première Recordings


Symphony No. 4 (An Organ Symphony)

Flemming Dreisig (organ)

Odense Symphony Orchestra, Roberto Minczuk

Trio Transcendentale

Nicholas Wearne (organ)

Songs and Rhapsodies

Frode Andersen (accordion)


This disc presents Poul Ruders’s latest orchestral composition, a 31 minute “Organ Symphony” in four movements, featuring a superbly wrought organ part played by Danish virtuoso, Flemming Dreisig. The brilliantly orchestrated Symphony No. 4 is perhaps Ruders's most extroverted work to date.

Ruders composed his Trio Transcendentale as the set piece for the Carl Nielsen International Organ Competition, and it is recorded here by the winner of the 2011 ‘Ruders Prize’, the British organist Nicholas Wearne.

Songs and Rhapsodies is a 25 minute suite, written for the Danish accordionist Frode Andersen and the woodwind quintet of Athelas, Denmark’s foremost new music ensemble.

Poul Ruders, Vol. 7 is the follow-up to last year's Vol. 6 (BRIDGE9336), which was a finalist in the Contemporary category at the 2011 Gramophone Awards.

“Ruders is equal to the competition, his invention characteristically sizzling. He does not obtrude the soloist, but delights in blending organ tone with related textures so one can’t always tell the difference...Trio Transcendentale, for organ alone (Nicholas Wearne), is fast and fun.” Sunday Times, 22nd January 2012

“This is, not to mince any words, a marvellous CD...the sheer craftsmanship of Ruders's writing is a joy in its own right...[Trio Transcendentale] must be terrific in live performance - it's already terrific here...[Songs and Rhapsodies] is a score of constant variety...The recordings are fresh and immediate.” International Record Review, March 2012

“His ace in the hole is his wonderful and inventive orchestration techniques. By creating odd or unusual instrument combinations, he often discovers new and vibrant orchestral colors...For those of you looking to expand your musical horizons as well as your CD collection, this captivating series of recordings by Bridge Records, which casts a wide net over the music of Poul Ruders, deserves some real estate on your shelves.” Classical Music Sentinel, March 2012

“Trio transcendentale was a test-piece for the 2011 International Carl Nielsen Organ Competition, at which Nicholas Wearne gave what was judged (surely deservedly) the winning interpretation...[Songs and Rhapsodies] explores the relationship between diverse timbres with energy, imagination and inventiveness...I do not expect to come across another disc of contemporary music as richly rewarding as this one in a hurry.” Gramophone Magazine, April 2012

“The organ Symphony ranges from rapt contemplation to searing power. The Trio Transcendentale is attractive, the Songs and Rhapsodies are striking.” BBC Music Magazine, April 2012 *****

“The solo organ work Trio transcendentale is a trio like no other...Nicholas Wearne - winner of the Ruders Prize at the 2011 Carl Nielsen International Music Competition - handles its fearsome challenges impressively.” Choir & Organ, May/June 2012 ***

“the Odense Symphony Orchestra is in scintillating form...But it is Dreisig who really earns his fee in the final tumultuous pages of this surprisingly approachable, highly memorable work, as Ruders lets rip with a saturnalia to blow the church roof off...[Wearne] performs [Trio Transcendentale] here with aplomb.” MusicWeb International, July 2012

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Editor's Choice - April 2012

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Bridge - The Music of Poul Ruders - BRIDGE9375


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Tchaikovsky: Symphony No. 5

Tchaikovsky: Symphony No. 5


Festive Overture, Op. 96


Symphony No. 5 in E minor, Op. 64

Following three highly praised recordings of Russian orchestral music (V5068, V5073, and V5256), this is the latest recording made for Naïve from the Orchestre National du Capitole de Toulouse and its exciting young conductor Tugan Sokhiev. It pairs two more great Russian masterpieces, Shostakovich’s effervescent Festive Overture, and one of Tchaikovsky’s best-loved symphonies, No. 5 in E minor.

After spending three years as its principal guest conductor and artistic adviser, Tugan Sokhiev became music director of the Orchestre National du Capitole de Toulouse in 2008. Since then their first three discs for Naïve have received exceptional reviews, and they have performed many critically acclaimed concerts across Europe and Asia. Tugan Sokhiev has just been named music director designate of the Deutsches Symphonie-Orchester Berlin and will take up his new role at the start of the 2012-13 season.

“How refreshing in a work of such familiarity to find oneself unable to take a single bar for granted. Don't get me wrong, this isn't the kind of performance which draws attention to itself, which somehow courts individuality, but rather one which re-evaluates how phrasing relates to sound in pursuit of the greatest spontaneity.” Gramophone Magazine, April 2012

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Lutosławski: Orchestral Works 2

Lutosławski: Orchestral Works 2


Symphonic Variations

Symphony No. 4

Variations on a Theme by Paganini, for piano & orchestra

Louis Lortie (piano)

Piano Concerto

Louis Lortie (piano)

This is the third volume in the Chandos series devoted to the music of the Polish composer Witold Lutosławski. It brings together his first surviving orchestral piece (The Symphonic Variations) and his last symphony, as well as two works for piano and orchestra – an early work originally written for two pianos (The ‘Paganini’ Variations), and his very last concerto. The works are performed by the BBC Symphony Orchestra under Edward Gardner, described by Gramophone as a veritable ‘Dream Team’ in Vol. 1. They are joined in this recording by Louis Lortie, the award-winning pianist and exclusive Chandos artist.

Lutosławski composed his Symphonic Variations while he was studying with Witold Maliszewski at the Warsaw Conservatory. When he showed the work to his teacher, he was told in no uncertain terms: ‘For me your work is ugly.’ A rather disheartening response to be sure, but perhaps also proof that here was a work that was well ahead of its time. Today it fits in easily with the European tradition of variation form, and is considered a prime example of the lush, but edgy harmonies of the composer, and of his vivid ear for instrumental colour and virtuosity.

Less than three years later, Poland was invaded by Germany, and normal music life disappeared. In its place, musical cafés emerged as places where light music as well as mainstream repertoire was performed. Lutosławski made his living in these cafés by playing a repertoire of light music, arranged by himself and his piano-duet partner, Andrzej Panufnik. All but one of these works were destroyed during the Warsaw Uprising in 1944. The sole survivor was the Variations on a Theme of Paganini. The version recorded here is Lutosławski’s orchestration for piano and orchestra, of the original version for two pianos.

Also on this disc is the Piano Concerto, the last of Lutosławski’s concertante works, as well as Symphony No. 4, which Lutosławski composed over four years (1988 – 92), conducting its premiere in Los Angeles, with the Los Angeles Philharmonic, in 1993, just a year before his death.

The Polish series is supported by the Adam Mickiewicz Institute.

“[the Symphony Variations] now sound lush and exuberant...Louis Lortie makes the most of the slightly underwhelming Piano Concerto (1987-88). The jaunty Variations on a Theme of Paganini (1978) – written within a year of Andrew Lloyd Webber's better-known version – and the Fourth Symphony (1988-92) give far more sense of this discreetly quixotic composer.” The Observer, 8th January 2012

“Gardner and the BBC Symphony, backed up by glittering sound, do [the Symphonic Variations] proud, from the folk-like opening flute theme, through its varied treatments...Lortie is an ideal soloist [in the Concerto], with a clarity of touch familiar from his recordings of the French repertoire, but also the power for the bigger gestures...Again, Gardner leads a detailed, musically sure-paced orchestral contribution.” BBC Music Magazine, March 2012 ****

“in a performance as vivacious and committed as this one, [the Symphonic Variations] comprises a veritable treat...Gardner's conception of the riveting Fourth Symphony (1988-92)...has both infectious involvement and considerable expressive ardour to commend it...Throughout, Gardner secures some first-class playing from the BBC SO; Ralph Couzens's engineering is, needless to say, state of the art.” Gramophone Magazine, April 2012

GGramophone Magazine

Editor's Choice - April 2012

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Chandos Edward Gardner Polish Music Series - CHSA5098


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Tafelmusik Baroque Orchestra play JS Bach

Tafelmusik Baroque Orchestra play JS Bach

Bach, J S:

Cantata BWV54 'Widerstehe doch der Sünde'

Daniel Taylor (countertenor)

Cantata BWV170 'Vergnügte Ruh, beliebte Seelenlust'

Daniel Taylor (countertenor)

Concerto for Oboe & Violin in C minor, BWV1060

John Abberger (oboe) & Jeanne Lamon (violin)

Orchestral Suite No. 2 in B minor, BWV1067

“Taylor's gentle singing has the perfect atmosphere of sincerely beautiful piety...Charlotte Nediger plays dextrously and movingly, and the conclusion, 'Mir ekelt mehr zu leben', has an easy mood of graceful joy.” Gramophone Magazine, April 2012

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Editor's Choice - April 2012

Analekta - AN29878



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Joplin: Treemonisha

Joplin: Treemonisha

Anita Johnson (Treemonisha), AnnMarie Sandy (Monisha), Edward Pleasant (Zodzetrick), Frank Ward Jr. (Ned), Chauncey Packer (Remus)

The Paragon Ragtime Orchestra and Singers, Rick Benjamin

This is a work of tremendous significance, as it is the only opera in existence about the Reconstruction Era African-American experience, written by a black man who actually lived through it. The echoes of the “field hollers”, spirituals, fiddle tunes, revival hymns and ancient African dances of his rural childhood are all heard, as are the dialect of people rising up from slavery.

“Benjamin's perfectly balanced to get the best out of the score. Glory lies less with the singers, who range from woolly (AnnMarie Sandy's Monisha) to bright (Anita Johnson's Treemonisha). Benjamin's new orchestration and the Paragon Ragtime Orchestra's punch are prize-worthy.” BBC Music Magazine, March 2012 ****

“Benjamin's light-on-its-feet orchestration fits the music: genteel melodic lines swim like fish through pure water...Edward Pleasant and AnnMarie Sandy (Zodzetrick and Monisha) banish operatic pomp; Anita Johnson's Treemonisha is sincerely felt. The star of the show, though, remains Joplin...This is the most important document about the history of American composed music to have appeared in a long, long time.” Gramophone Magazine, April 2012

“The orchestra is simply superb. I really cannot praise the players too highly for their technical brilliance but also for their perfect understanding of the idiom...Anita Johnson in the title role is good without being exceptional.” MusicWeb International, December 2012

GGramophone Magazine

Editor's Choice - April 2012

BBC Music Magazine

Opera Choice - March 2012

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Cello Sonatas by Franck, Debussy & Poulenc

Cello Sonatas by Franck, Debussy & Poulenc


Cello Sonata

Franck, C:

Violin Sonata in A major

transcription pour celle de Jules Delsart


Cello Sonata, Op. 143

Anne Gastinel (cello) & Claire Désert (piano)

This is the 15th recording on Naïve by one of the label’s best selling artists, the renowned French cellist Anne Gastinel. On this new CD she is accompanied by her regular piano musical partner Claire Désert in three essential works of the French chamber repertoire, César Franck’s much loved Sonata in A major in the popular transcription for cello and piano, and Sonatas by Debussy and Poulenc.

Born in 1971, Anne Gastinel began playing the cello at the age of four while also studying the piano and the oboe. She gave her television début as concert soloist at the age of 10, and five years later finished in first place at the Music Conservatory in Lyon. She went on to complete her studies at the National Music Conservatory in Paris. In 1989, at the age of 18, Anne won first prize of the International Competition of Scheveningen and became the first French artist in forty years to reach the finals of the International Competition of Prague.

Over the past 12 years Anne Gastinel has performed with many internationally renowned orchestras and distinguished artists such as Kurt Sanderling, Semyon Bychkov, and Yuri Bashmet. Her recording career both in chamber and orchestral music has won her great acclaim from the international press and resulted in many international prizes, including the Victoires “Young Talent 1994”, Victoires “Best Recording of the year” 1995, the Prix “Fnac” in 1995 and 2000, and the Prix de l’Académie du disque et Classique d’Or by French Radio RTL in 1996 and 1998.

“Gastinel and Desert make a very good job of [the Franck] - the playing is natural and unforced. The Debussy Cello Sonata is excellent here, an account that captures the fleeting moods of the work extremely well. This is quite an individual performance, working convincingly towards climaxes...The Poulenc Sonata here is a winner but the whole disc is very impressive.” International Record Review, January 2012

“highly articulate, sensitively shaped and technically mellifluous performances from two outstanding musicians, which on this occasion only catch fire intermittently.” Classic FM Magazine, March 2012 ***

“[Gastinel] and Claire Desert have a wonderfully intuitive partnership and both draw on subtle, inimitable soundworlds....Gastinel brings the right note of nonchalant simplicity to Debussy's Sonata...Where Rostropovich and Britten's landmark recording of this work has panache and bite, this duo, with cat-like tread, bring out an utterly different quality - equally stylish, and quietly impressive.” BBC Music Magazine, March 2012 *****

“one of the notable aspects of the playing is its singing quality, the expressiveness that Gastinel draws from fine nuances of sound all seamlessly knit together in mellifluous lines...In her interpretative stance and application of colour Gastinel is ideally matched by Desert; the recorded balance is judicious and there is a real sense of a performance being created in complete accord.” Gramophone Magazine, April 2012

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Editor's Choice - April 2012

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Chamber Choice - March 2012

Naive - V5259



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Fauré: Cello Sonatas Nos. 1 & 2

Fauré: Cello Sonatas Nos. 1 & 2


Cello Sonata No. 1 in D minor, Op. 109

Cello Sonata No. 2 in G minor, Op. 117

Élégie in C minor, Op. 24

Romance in A major for cello & piano, Op. 69

Papillon, Op. 77

Sérénade, Op. 98

Sicilienne, Op. 78

Cello Sonata No. 1 in D minor, Op. 109: third movement

at a faster tempo

Alban Gerhardt (cello) & Cecile Licad (piano)

Following their triumphant Casals Encores disc, Alban Gerhardt and Cecile Licad are reunited for Fauré’s music for cello and piano. The two cello sonatas are among the masterpieces of the cello repertoire, looking back to the nineteenth century but also with an edginess that may well reflect the time in which they were written—during and immediately after the First World War. Remarkably, Fauré was in his seventies by the time he wrote them. There’s some debate as to how fast the last movement of the first sonata should go—so Alban Gerhardt has recorded two alternative versions, to be programmed to the listener’s taste.

Alongside the sonatas are some of Fauré’s most seductive bon-bons, including the famous Sicilienne and Élégie, and the so-called Papillon (so-named at his publisher’s insistence and much to Fauré’s annoyance—he hated fluffy titles).

Alban Gerhardt is of course a Hyperion regular and this is his ninth album for the label.

“One has a powerful sense of Cecile Licad and Alban Gerhardt's compelling grasp of architecture...[in the Andante of No. 1] Licad's melting lines are wonderfully voiced, and we have a choice of finales - one at Faure's own controversially slow tempo, and one at the performer's preferred, faster tempo. In the Second Sonata, Gerhardt captures the first movement's exalted energy.” BBC Music Magazine, March 2012 ****

“[Gerhardt] has the command of a very fine virtuoso...[Gerhardt and Licad] sound free as air, intellectually confident, full of verve, with niceties of balance and intensities never an issue; a convincing frame of colour, movement and sound in place for every movement...obviously the one to get. May it win friends for some excellent and still undervalued music.” Gramophone Magazine, April 2012

“From every standpoint, Gerhardt's accounts of the sonatas seem exceptional, with their assured technical mastery and uncanny depth of insight...none of [the] rival accounts will readily eclipse these sonorously authoritative new performances...Magnificent cello playing from Gerhardt, empathetically supportive accompaniments from Licad and a wonderfully natural and atmospheric recording to boot.” International Record Review, January 2012

“Alban Gerhardt's account of Fauré's two cello sonatas, both late works, repay careful listening. Like the works themselves, his playing and that of the pianist Cecile Licad is full of subtleties, the half-tones and inflections that make the chamber music of Fauré's final decade so elusive and fragile. Nothing here is forced or made to conform” The Guardian, 19th January 2012 ****

“They make a particularly fine duo here, working emotionally in unison, sensing the music’s contours with like mind, breathing as one...their feeling for moments of drama and repose is held in ideal equilibrium, and their pointing up of Fauré’s individual harmonic shading is judged instinctively.” The Telegraph, 13th January 2012 *****

GGramophone Magazine

Editor's Choice - April 2012

Hyperion & Helios - up to 50% off

Hyperion - CDA67872


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Gubaidulina: Seven Words, In croce, Cadenza & Et exspecto

Gubaidulina: Seven Words, In croce, Cadenza & Et exspecto


Sieben Worte for cello, bayan and strings

In croce


Et Exspecto - sonata for classical accordion solo

Iñaki Alberdi (accordion) & Asier Polo (cello)

Basque National Orchestra, Jose Ramon Encinar

This release celebrates Sofia Gubaidulina’s 80th birthday in October. Her contemporary compositions show her affinity with human emotions and life itself. Seven Words was written for classical accordion, cello and strings, In croce for accordian and cello and Cadenza and Et exspecto for accordion.

“A handy collection of most of Sofia Gubaidulina's important works for the accordion” BBC Music Magazine, March 2012

“Gubaidulina's religious nature, specifically Russian Orthodox, finds expression in each of these pieces. Each also makes use of her much-loved bayan, the Russian button accordion played here with great virtuosity by Inaki Alberdi...the performer's interpretation goes, with her encouragement, well beyond the composer's notation...This is a remarkable, compelling work.” Gramophone Magazine, April 2012

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Etcetera - KTC1433



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