Penguin Guide Rosette Winners

“Baiba Skride is arguable the most exciting violin talent to have emerged since Elisabeth Batiashvilli a few years back… she weaves her way through the Tchaikovsky as though she is unfolding a poetic narrative.” BBC Music Magazine, July 2008 ****

“A natural musicaon to the ends of her fingertips.” Classic FM Magazine

“…the Tchaikovsky Concerto has rarely sounded more lyrical, more "feminine". The wintry colours of the slow movement are lovely, with Skride's many shades of pale elegantly dovetailed into flute and clarinet adornments.” Gramophone Magazine, August 2008

“To subdue the inevitable scepticism as to whether yet another version of Tchaikovsky's Violin Concerto is really necessary, Nelsons responds with an orchestral canvas that is full of drama, lively with nuance and injected with bravura and also with sensitivity. His fellow Latvian, Baiba Skride, similarly rejects any ideas about just digging over old ground, and her interpretation, at once maturely considered and spontaneous, has a freshness and vivacity.” The Telegraph, 17th May 2008 (on Tchaikovsky's Violin Concerto)

“A generous selection of Rubinstein's early Chopin recordings shows a seemingly effortless, intuitively musical response to each piece. Sound quality is not an issue when faced with such great performances.” BBC Music Magazine, May 2008 *****

“A distinguished series of beautifully presented reissues” Gramophone Magazine

“The current remastering by Andrew Walter has removed almost all the background noise, and the mono piano recording is miraculously real and vivid.” Penguin Guide, 2011 edition

“There's a sameness in Martin's cello writing, which all too frequently consists of juxtaposing long, looping melodies with scampering passages in six-eight time or flurried pizzicato arpeggios. Poltéra, committed and subtle as always, can't quite disguise the resulting thinness. The Malmo Symphony Orchestra under Tuomas Ollila-Hannikainen are his laid-back accompanists in the Concerto, while pianist Kathryn Stott joins him for the Ballade. Left to her own devices, Stott also performs the Eight Preludes for Piano dating from 1944. They rank among Martin's finest works and are, ironically, the best things on the disc.” The Guardian, 18th April 2008 ***

“Many music lovers will not have been exposed to much of Frank Martin's music… I was quite bowled over in discovering the Cello Concerto, so eloquently and sensitively played here. It is no exaggeration to state that this rapt performance presents this noble concerto with an inspirational intensity to compare with the celebrated Du Pré/Barbirollo recording of the Elgar Concerto.” Gramophone Magazine, April 2008

“Poltéra delivers an utterly compelling and committed performance, and the Malmö Symphony Orchestra under Tuomas Ollila-Hannikainen provides both sensitive and dynamic support. Stott… gets a welcome opportunity to demonstrate her own credentials as a soloist, providing an outstanding performance of the Eight Preludes, Martin's most substantial work for piano. All in all, a wonderful disc.” BBC Music Magazine, April 2008 *****

“Frank Martin's Cello Concerto, so eloquently and sensitively played here, is a real discovery. It is no exaggeration to state that this rapt performance presents this noble concerto with an inspirational intensity to compare with the celebrated Du Pré/Barbirolli recording of the Elgar Concerto.
The works share a similar deep, poignant, meditative feeling, although Martin's concerto also has a distinct valedictory character, expressive melancholy which suggests personal loss.
The soloist opens with a gloriously lyrical theme which is to dominate the movement (commentators have likened it to Vaughan Williams).
A skittish development is in tarantella rhythm with bolder clashes of angry dissonance but at the close comes the balm of the return of the ravishing opening material. Unexpectedly, the touching central Adagietto is in the form of a passacaglia. This sadness is all but dispelled in the brilliantly rhythmic finale, yet the lyricism creeps back and even the tarantella returns briefly before the close.
The (much earlier) Ballade is a free fantasialike dialogue between cello and piano, Kathryn Stott and Christian Poltéra enjoying a perfect partnership. Martin dallied with Schoenberg's 12-note system and he uses it in the Eight Preludes.
But he had no intention of giving up tonality, and the result is a stunning set of great variety and resource, thrillingly played by Stott.
This disc, given state-of-the-art recording makes an ideal introduction to Martin's music.” Gramophone Classical Music Guide, 2010

“it is the most searching and penetrating account of the work to have appeared in recent year and, given the excellence and truthfulness of the recording, must carry the strongest and most enthusiastic recommendation.” Penguin Guide, 2011 edition

“Steven Osborne's pedigree in French repertoire is such that it has been almost inevitable that he would record Debussy's Préludes at some point. He has much in his favour, notably a marvellous range of colour, finely judged touch, and the ability to combine powerful waves of sound with diaphanous passagework while Hyperion have not lost their ability to capture a piano in full, natural sound.” BBC Music Magazine, August 2006 ***

“Steven Osborne tells us that in preparing this recording he was struck 'by the enormous scope of these preludes. What other collection of pieces manages to create so many utterly distinct and compelling worlds?' But he has prepared well, and every prelude glows, always rich in atmosphere.
The opening 'Danseuses de Delphes' has a commandingly grave serenity and 'Voiles' floats effortlessly. Yet 'Les collines d'Anacapri' dances with sparkling rhythmic vitality and 'La danse de Puck' is deliciously capricious.
Osborne's delicacy of feeling (and texture) is at its most magical in the soft footfalls 'sur la neige', although 'Feuilles mortes' has similar moments of evocative quietness. The unpredictability of 'Le vent dans la plaine' is matched by the simulated violence of 'Ce qu'a vu le vent d'Ouest', and the thrilling climax of 'La cathédrale engloutie' has rich depth and sonority. By contrast, 'La fille aux cheveux de lin' has a ravishing simplicity, without sentimentalising.
'S Pickwick' brings a momentary smile but his eccentricity is banished by the calm of 'Canope' and the joyful virtuosity of 'Les tièrces alternées'.
Osborne's virtuosity is never for its own sake and always reflects the music's spirit. The obvious comparison is with Zimerman's stunningly vivid recording; but his extraordinarily brilliant playing is at times almost over-projected and Osborne's natural spontaneity and powerful conveying of inner feeling is every bit as telling – less intense but deeply satisfying. The Hyperion recording is very realistic.” Gramophone Classical Music Guide, 2010

“…Osborne has prepared well, and every prelude glows, always rich in atmosphere. Osborne's delicacy of feeling (and texture) is at its most magical in the soft footfalls "sur la neige" although "Feuilles mortes" has similar moments of evocative quietness. The unpredictability of "Le vent dans la plaine" is matched by the stimulated violence of "Ce qu'a vu le vent d'Ouest", and the thrilling climax of "La cathédrale engloutie" has rich depth and sonority.” Gramophone Magazine, October 2006

“Osborne achieves little miracles of colour and control...The recording respects Steven Osborne as much as he does the composer; the pianist provides the colour, the resonance, the glowing halo of sound, and the recording delivers it with great clarity and honesty...Strongly, indeed, urgently recommended.” Andrew McGregor, bbc.co.uk, 18th December 2006

“A classic release in which Warren-Green and his colleagues play with such passion and commitment that any Minimalist doubters will be swept along with them. Spotlessly engineered.” BBC Music Magazine, October 2006 *****

“Her playing carries blazing conviction at every turn, and its sheer virtuosity is breathtaking ... Vivid communication is helped by a fairly forward, resonant recording, which captures every nuance without detriment to overall perspective ... supreme in every instance, and in pretty well every department, be it refinement of sonority, accent, timing, characterization or sheer dexterity.” Gramophone Magazine

“They take precedence over all the competition, both as performances and as recordings. The playing has wonderful life and warmth, tempi are always aptly judged, and although original instruments are used, this is authenticity with a kindly presence.” Penguin Guide, 2011 edition

“These are altogether fine performances, with all the Lindsay's characteristic warmth and affection.” BBC Music Magazine, July 2006 ****

“The two Op 77 quartets are among Haydn's greatest works and The Lindsays produce an unflagging energy to match their inventive vigour. They always seem to hit just the right tempo and so give every movement a persuasive character. In Op 77 No 1, we immediately appreciate the spry march rhythms of the first movement, the majesty of the Adagio, and the presto Minuet's whirling motion, with a particularly fine account of the wild trio section.” Gramophone Magazine, July 2006