Penguin Guide Rosette Winners

“In Carlos Kleiber's hands the first movement of the Fifth is electrifying, yet still has a underlying hushed intensity...In the Seventh the symphonic argument never yields to the charm of the dance. Incisively dramatic, his approach relies on sharp rhythmic contrasts and thrustful rhythms.” Penguin Guide, 2011 edition

“Why is it that cellists who bemoan their lack of concerto repertory continue to neglect CPE Bach's three essays in the genre? It's a mystery; they're excellent pieces, full of infectious nervous energy in their outer movements and tender lyricism in central ones. They aren't unknown to the recording catalogues, however, not least because they also exist in alternative versions which the composer made for flute and harpsichord.
Though there are times when the low-lying cello has difficulty making itself heard against the orchestra, Suzuki makes light of the matter with performances whose agility, lightness and textural clarity make those of Bylsma and the largersounding Orchestra of the Age of Enlightenment sound heavy-handed. But while Suzuki – thanks to a generally thinner sound – is the more successful in the way he transmits the surface excitement and energy of the quick movements, he can't match Bylsma's vocal inspiration in the eloquent poetry of the slow movement. Suzuki's, nevertheless, are refreshing, enlivening performances of attractive and substantial music.” Gramophone Classical Music Guide, 2010

“These works show their fine composer at his most inventive. Hidemi Suzuki, who is soloist/director here, is another fine artist from this remarkably talented family, and he creates a dashing flow of energy in the orchestral ritornellos of outer movements; and the Bach Collegium play with great zest and commitment.” Penguin Guide, 2011 edition

Penguin Guide 1996 3 star

“The CD transfers are of Decca's best quality, full-bodied and vivid...his readings give us fresh insights into these often inspired works...a magnificent memorial to a conductor who died sadly young” Penguin Guide, 2010 edition **/*

“This is playing in the grand manner. From the start of First Concerto you're aware of a consciously leonine approach. Zimerman even deliberately takes risks in a few technically perilous places where some of his colleagues, at least in the studio, play safe; and indeed his octaves in the opening cadenza are an example.
The result sounds spontaneous and, yes, even brave. Ozawa and the orchestra are behind the soloist in all this. Not only do lyrical sections sing with subtlety, the big passages also are shapely. There's plenty of drive in this Concerto.
In the Second Concerto Zimerman adopts a different approach; he evidently considers it a more poetic piece and the playing style, strong though it is, is to match. Finely though he handles the gentler music, there are odd sniffs and hums in the molto espressivo passage following the D flat major cello solo, and also in the last of the work's quiet sections. In the gorgeously grisly Totentanz, both the music and the playing should make your hair stand on end. The sound has a depth that suits the music and the piano is especially impressive.
Zimerman's freshness (he reminds us that this is a young man's music), and the coupling, makes this disc a most desirable one.” Gramophone Classical Music Guide, 2010

“Bernstein's electrifying account of No. 40 is keenly dramatic, individual and stylish, with the finale delightfully airy and fresh. If anything, the Jupiter is even finer: it is both exhilarating in its tensions and it observes the repeats in both halves of the finale.” Penguin Guide, 2011 edition