Elgar: Pomp and Circumstance March No. 3 in C minor, Op. 39 No. 3

“there are times when a recording of a popular classic comes along that's so fresh, understanding and heartfelt that it demands to be approached solely on its own terms. Paul Watkins's Elgar Cello Concerto is firmly in that class. Watkins's emotional shading is individual, without it ever sounding as though he's trying to be individual.” BBC Music Magazine, July 2012 ****

“Paul Watkins is a sensitive soloist, and he and Davis clearly have a special rapport...The BBC Philharmonic strings are richly full-blooded and rhythmically taught in the Introduction and Allegro. There is a wonderful ebb and flow to the lighter passages, which radiate warmth and geniality” Graham Rogers, bbc.co.uk, 25th July 2012

“Watkins plays with consummate artistry, his golden-toned and technically flawless contribution striking a judicious balance between classical poise and unexaggerated depth of feeling...Durable rewards guaranteed, then, and the same certainly holds true for Davis's dashingly articulate, meticulously observant and superbly musical handling [of the Marches]...for the two main offerings alone every Elgarian should investigate this release” Gramophone Magazine, July 2012

“Davis, an Elgarian of perception, understands the smallest implications in the light but beautiful orchestration, ideal accompaniment to the cello. Watkins is watchful of the detail in the heartfelt opening statement...Watkins and Davis give [the finale]...a distinct dryness of utterance. Much falls into place with this approach” International Record Review, May 2012

“Watkins does so much more than just play the tunes. His range of colour and expression is tremendous, and the instrument he uses he describes in the booklet as having a “combination of burnished woody timbres and a plangent expressivity, reminiscent perhaps of an English tenor voice.”..With stunning recorded sound, what more could one ask.” MusicWeb International, June 2012

“Watkins writes in the booklet that he found it “daunting” to record Elgar’s Cello Concerto...but he rises superbly to the challenge. His playing — of exceptional beauty, refinement and technical address — is all the more remarkable given that he is no longer a full-time soloist.... With Davis, one of the most experienced of all Elgarians, as his conductor, this is a valedictory account of the composer’s last important orchestral work” Sunday Times, 22nd April 2012

“Watkins' account seems the best to have appeared on disc for years. It has intensity, presence and warmth, which never topples over into sentimentality, and Davis and the BBC Philharmonic accompany with panache; the exchanges in the scherzo are wonderfully deft. The rest of disc is equally fine.” The Guardian, 5th April 2012 *****

“Poetic pianissimos, abrupt explosions, finely tapered phrases: each of Watkins’s expressive details immediately reach the listener...There’s also perfect rapport between soloist, conductor and orchestra. Watkins’s ten years of conducting experience comes into play here...time and again the ear is moved and beguiled by Watkins’s quiet ache or varied colours or the orchestra’s sheen and fleet panache.” The Times, 6th April 2012 ****

“Boult's 1970 recording of the Enigma Variations offers similar riches to those of Barbirolli with the additional bonus of a slightly superior recorded sound. Boult's account has authority, freshness and a beautiful sense of spontaneity: each variation emerges from the preceding one with a natural feeling of flow and progression.
There's warmth and affection, coupled with an air of nobility and poise, and the listener is always acutely aware that this is a performance by a great conductor who's lived a lifetime with the music. You need only sample the passionate stirrings of Variation 1 (the composer's wife), the athletic and boisterous 'Troyte' variation, or the autumnal, elegiac glow of the famous 'Nimrod' variation to realise that this is a very special document indeed. The LSO, on top form, plays with superlative skill and poetry and the excellent recording has been exceptionally well transferred to CD. The Pomp and Circumstance Marches, recorded six years later with the London Philharmonic Orchestra, are invigoratingly fresh and direct – indeed the performances are so full of energy and good humour that it's hard to believe that Boult was in his late eighties at the time of recording! A classic.” Gramophone Classical Music Guide, 2010

“The programme's a generous one, with the Royal Philharmonic sounding in eminently healthy fettle...But there's precious little about these performances that lingers in the memory. Take Cockaigne: Wordsworth certainly knows his way around the metropolis but neither is he, in all honesty, the most personable nor illuminating guide.” Gramophone Magazine, September 2012

“The Cadogan acoustic lets individual voices shine through in an account of Cockaigne bursting with lively vulgarity. Cornets and trombones are extra-prominent. It bounces along, and Wordsworth doesn’t overdo the tiny stops and starts.” The Arts Desk, 4th August 2012

“Revel in Robert Quinney’s superb, multifaceted, virile, eloquently expressive playing of Westminster Abbey’s mighty Harrison & Harrison organ. The music is all by Elgar, but only the G Major Sonata, given a performance befitting the music’s nobility as well as its thrilling tonal spectrum, was written for solo organ. Magnificent.” The Telegraph, 11th August 2011 *****

“the 'meat' of the disc...is the imposing Sonata which provides a thorough workout both for Quinney's hugely impressive technique and the instrument's capacious resources. Form the protean grandeur and introspective lyricism of the first movement, to the breezy gusto of the Finale, Quinney is in the complete command...Thoughtfully programmed, compellingly played, Quinney's Elgar entices.” BBC Music Magazine, November 2011 ****

“If overwhelming organ sound - especially from the Tuba stops - is what you're after, this is for you. Signum Classics' recording is tremendously vivid across the whole spectrum and captures the Westminster Abbey atmosphere in all its blazing majesty...If it's a masterly display of an organist revelling in transcriptions that push the pseudo-orchestral effects of a grand organ to the limits, then you can relish this, too...while his playing is magnificently flamboyant, it is more focused on the organ than on Elgar” Gramophone Magazine, November 2011