Penguin Guide Rosette Winners

“This is probably the finest single collection of trumpet concertos in the catalogue. When it first appeared in 1987 (the Hummel and Haydn have since been recoupled with a later set as listed here) it created overnight a new star in the firmament of trumpeters.
The two finest concertos for the trumpet are undoubtedly those of Haydn and Hummel, and Hardenberger plays them here with a combination of sparkling bravura and stylish elegance that are altogether irresistible. Hardenberger opens with the famous Hummel Concerto, played in E major rather than the usual E flat, which makes the work sound bolder and brighter than usual. The finale with its crisp articulation, fantastic tonguing and tight trills, displays a genial easy bravura, yet overflows with energy and high spirits. Marriner and his Academy accompany with characteristic finesse and warmth, with the lilting dotted rhythms of the first movement of the Hummel, seductively jaunty. The lovely Andante of the Haydn is no less beguiling, and both finales display a highspirited exuberance and an easy bravura which make the listener smile with pleasure.
The recording gives him the most vivid realism and presence, but it's a pity that the orchestral backcloth is so reverberant; otherwise the sound is very natural. A superb disc.” Gramophone Classical Music Guide, 2010

“Well recorded, idiomatic performances all round - a real Ives discovery.” Gramophone Magazine, October 2008

“James Sinclair leads excellent performances. The Malmo Symphony sounds comfortable in the American idiom, and the recording is spacious, sweet sounding in the strings…You should have the Naxos regardless of what other Ives recordings you have.” American Record Guide

“This is a fascinating release that offers Ives's three Orchestral Sets for the first time. The curtain is raised with the first of them, ThreePlaces in New England, in its original version – this stands somewhere between the CountryBand March and the later, more familiar ThreePlaces. At this stage there's no piano part and the conflicting march rhythm in 'Putnam's Camp' is missing as well as its dissonant opening. Both the First and Second Sets are vintage Ives, with his unforgettable reaction to the sinking of the Lusitania that brought the US into the First World War at the end of the Second Set.
But the novelty here is the Third Set. The first two movements come from sketches edited by David Gray Porter. The opening Andante has a structure similar to Central Parkin the Dark with typical Ives chords and a texture building to a crisis with something left hanging softly at the end. The second movement is called 'During Camp Meetin' Week: One Secular Afternoon'. This again is Ives's idiosyncratic territory with lots of quotations including 'Columbia the Gem of the Ocean' twice and a four-part hymn about the Day of Judgement – not so secular after all? Completing works by Ives has become an industry that the composer would have welcomed.
The perhaps over-extended last movement of this Third Set, realised by Nors Josephson, at times sounds like Varèse, although it begins and ends softly. Well recorded, idiomatic performances all round – a real Ives discovery.” Gramophone Classical Music Guide, 2010

“Gerald Finley has everything and more in his darkly full-bodied voice to match the often formidable technical and expressive requirements of Ives’s songbook—reinforced by Drake’s elastic, expressive piano … this is a must-buy album” The Times

“This is a highly successful follow-up to Gerald Finley and Julius Drake’s first Ives recital from 2005. Here there is the same sort of mix, from familiar songs such as The Circus Band and Watchman! To an early requiem for the family cat and the intriguing title song, Romanzo (di Central Park), with its obbligato violin part atmospherically played by Magnus Johnston. Finley is his usual charismatic self, at home as much in the hymnody as the parody, and he is careful not to over-sentimentalise the more homely numbers while injecting pathos into the war songs. Drake projects Ives’s often complex accompaniments with clarity and style” The Telegraph

“…outstandingly well sung and played, equally well recorded, and highly recommendable to all lovers of fine songs and fine singing.” BBC Music Magazine, March 2008 *****

“…some of the early songs in a conventional style are treated with the same seriousness that Finley would apply to Lieder. The contemplative ones are delivered with an impressive serenity and Finley has his own way of attacking the razzle-dazzle of something like "The Circus Band" or "They Are There!".” Gramophone Magazine, April 2008

“This is the second volume of Ives songs from this accomplished team; their first Ives volume (reviewed above) contained some of the blockbusters like Charlie Rutlage and General WilliamBooth but the mood of this volume is fairly sedate. In particular some of the early songs in a conventional style are treated with the same seriousness that Finley would apply to Lieder.
An unusual but effective feature here is the provision of violin obbligato both for the jingoistic wartime song They Are There! and the mawkish take-off Romanzo (di Central Park). Sentimentality is a Victorian characteristic but in Songs MyMother Taught Me, as elsewhere in Ives, the emotion is genuine so it invariably convinces.
Many of the songs are transposed down – hard work for the pianist and it makes some of the textures rather dense. The contemplative ones are delivered with an impressive serenity and Finley has his own way of attacking the razzledazzle of something like The Circus Band or TheyAre There! He's close-miked, which works best in the intimacy of the quieter songs.” Gramophone Classical Music Guide, 2010

“Despite stiff competition this vividly dramatic reading of the original score, the superb playing and Söderström's heart-breaking heroine confirm this is still the finest incarnation of Janácek's pastoral tragedy.” BBC Music Magazine, May 2007 *****

“Janácek's first operatic masterpiece is a towering work, blending searing intensity with heart-stopping lyricism.
It tells of Jenufa and the appalling treatment she receives as she's caught between the man she loves and another who finally comes to love her. But dominating the story is the Kostelnicka, a figure of enormous strength, pride and inner resource who rules Jenufa's life and ultimately kills her baby. Randová's characterisation of the role of the Kostelnicka is frightening in its intensity yet has a very human core. The two men are well cast and act as fine foils to Söderström's deeply impressive Jenufa. The Vienna Philharmonic plays beautifully and Mackerras directs magnificently. The recording is all one could wish for and the booklet is a mine of informed scholarship.” Gramophone Classical Music Guide, 2010

“this superb set at last does justice to a musical of the 1920s which is both a landmark in the history of Broadway and musically a work of strength..von Stade gives a meltingly beautiful performance, totally in style, bringing out the beauty and imagination of Kern's melodies...The London Sinfonietta play with tremendous zest and feeling for the idiom” Penguin Guide, 2011 edition

“an outstanding release in every way” Edward Greenfield in Gramophone

“It's an inspired coupling, as well as a generous one, to have these three high-romantic concertos together. James Ehnes gives superb performances, bringing out their full emotional thrust without vulgarity or exaggeration. His playing has always been impressive on disc, but here he excels himself in expressive range as well as tonal beauty, with expressive rubato perfectly controlled.
The concertos date from the late 1930s and '40s, and though at the time their romanticism might have seemed outdated, the strength and memorability of the musical ideas in each amply justifies the composers' stance. In the Barber, Ehnes more than usually brings out the contrast between the first movement – improbably marked Allegro when the impression is of a slowish piece – and the Andante slow movement, strengthening the work's impact. The Korngold, drawing its striking main themes from some of the composer's film scores, is just as richly lyrical, prompting from Ehnes some ecstatic playing of the many stratospheric melodies above the stave, using a wide dynamic range with wonderfully delicate half-tones.
The Walton is just as memorable, for unlike most latter-day interpreters Ehnes has taken note of the example of the work's commissioner and dedicatee, Jascha Heifetz. Where the work is generally spread to well over half an hour, Ehnes takes exactly 30 minutes and the result is all the stronger. This is one of Walton's most richly inspired works, and Ehnes brings that out strongly, helped by the powerful playing of the Vancouver orchestra under Bramwell Tovey.
Textures are not always as transparent as they might be but the power of the orchestral playing in all three works adds greatly to the impact of the performances. An outstanding disc in every way.” Gramophone Classical Music Guide, 2010

“Ehnes proves an ardent and committed advocate, mirrored by Bramwell Tovey's glowing partnership, particularly in the lyrical, beautiful slow movement, which has exquisite delicacy of feeling. It is an inspiring coupling, as well as a generous one...Ehnes gives superb performances of all three, bringing out their emotional thrust without vulgarity or exaggeration. An altogether indispensable CD.” Penguin Guide, 2011 edition