SACDs - Rachmaninov

“This is a very impressive programme...performances distinguished by expressive warmth, an intense sense of conviction and very fine playing from the Bergen Philharmonic Orchestra...[Isle of the Dead] is utterly convincing and inherently dramatic. The brooding atmosphere is very powerfully conveyed.” BBC Music Magazine, April 2013 *****

“Litton has a good grasp of [The Rock's] romantic sweep and sustains its narrative and emotional thread.” Gramophone Magazine, March 2013

“Under the masterly direction of Sigvards Klava, the Latvians display the barrel-chested Slavonic tonal resources Rachmaninov would have expected — sepulchral basses, soft-grained but strong sopranos, tenors who soar without strain — but also a precision alien to Russian choirs” The Times, 17th November 2012 *****

“You would need to go far to hear a richer, more rounded alto section than this. They are supported by a wonderfully firm bass line...you want to single out each section for particular praise: the gloriously clear-toned and vital sopranos an the ardent, sweet-voiced tenor section.” International Record Review, December 2012

“Klava's interpretation doesn't give the sensation of dragging...He carefully draws out every dramatic nuance from this choral feast. His two dozen singers produce a well-nourished tutti and sound like a much larger group...There is a wonderfully kaleidoscopic (though carefully graded) palette of vocal colours throughout...The Latvians' unanimity of attack is well-nigh perfect...This is a sublimely beautiful yet rapturous recording.” Gramophone Magazine, February 2013

“the Rachmaninov of Latvia's outstanding professional choir presents a golden mean between the uniquely open-throated but not always pitch-perfect Glinka Choir of the hallowed St Petersburg tradition, and the more reserved tones of English choral contenders...this performance is a remarkable achievement” BBC Music Magazine, March 2013 ****

“Gergiev’s reading is a satisfying one and the LSO are on superlative form… Punchy, powerful stuff, in close-up, vivid sound.” The Arts Desk, 5th May 2012

“[Gergiev] elicits a fair amount of instrumental detail from Rachmaninov's luminous scoring [in the Symphonic Dances] but it is at the cost of cohesive overall structure...[the Symphony in Three Movements] is a big-boned performance, its syncopations crisply articulated by the LSO, its powerful rhythmic impetus kept on a tight rein, its palette of timbres well delineated.” Gramophone Magazine, June 2012

“these are thoughtful, well-considered performances, excellently played and recorded...Gergiev's rather deliberate tempo in the first movement of the Rachmaninov seems to stress the 'symphonic', rather than the 'dance' aspect of this work...Much the same might be said of the Stravinsky: overall the emotional temperature seems a bit low, despite some highly exciting passages and refined solo playing in the more lyrical moments.” BBC Music Magazine, July 2012 ***

“Gergiev gives us a bold, exciting account of Stravinsky's wartime cracker: wild and rough at the edges in the outer movements; unsentimental, even brusque in the 'soft centre'.” Classical Music, 7th April 2012 ****

“Sudbin’s playing has terrific presence in this recording of Rachmaninov’s Paganini Rhapsody. The blend of personality and stylistic perception that marks Sudbin’s live performances is also manifest here. He plays with passion, drive, dexterity, discretion and dynamism...This is a top-flight, richly enjoyable performance” The Telegraph, 5th April 2012 ****

“This, as you would expect from Subdin, is a performance rich in detail and immaculately executed; furthermore, from the outset the ear is immediately taken by the superb sound quality” Gramophone Magazine, May 2012

“Subdin, clearly on top form, treats Rachmaninov's variations like a set of diabolical virtuoso etudes, displaying transcendental virtuosity and kaleidoscopic keyboard colour. Sudbin nevertheless plays with all the necessary intimacy and sense of Romantic feeling in the lyrical sections...The Singapore Symphony accompanies perfectly, adding considerably to the colour and atmosphere of the work.” BBC Music Magazine, May 2012 ***/****

“Kempf follows [Bach's] text faithfully, allowing each variation to shape the movement without sounding forced...[He] shows an impressive range of organ-like colour along with a pointillism that suits quick passages well...The scene of 'Shrove-Tide Fair' is a roller-coaster ride under Kempff's fingers, driven by a motoric energy that many pianists would find difficult to sustain over eight-and-a-half minutes.” International Record Review, April 2011

“this is a colourful and enjoyable account [of Petrushka], well-characterised and full of dynamic contrast...fans of Kempf need have no qualms about acquiring this release.” BBC Music Magazine, June 2011 ****

“In Rachmaninov's Corelli Variations, Kempf distinguishes himself for assiduous, well-integrated tempo relationships between movements, and the easy command and intelligent, symphonically orientated delineation with which he shapes the composer's thick textures...Kempf's glittering technique, supple touch and extroverted demeanour in Stravinsky's Three Movements from Petrushka bring out the music's balletic roots” Gramophone Magazine, July 2011

“Kempf opens with a beautifully-voiced and judiciously-paced view of Rachmaninov's Variations...he finds a meltingly silvery touch for the Ravel Valses (exquisite) before a return to the Russian repertoire that he plays so well, leaving us, thrillingly, in no doubt that the piano is a percussive instrument.” Classic FM Magazine, July 2011 ****

“Kempf’s command of the immense pianistic range to be found in Rachmaninov’s keyboard music clearly has few equals, and this set delivers at a stroke several jaw-dropping performances” london24.com, 17th June 2011