Thursday, June 6, 2013

Erwin Schulhoff: Violin Sonatas


“Tanja Becker-Benda offers absolutely stunning playing throughout this warmly recorded disc. She makes light work of the formidable technical challenges in the opening Allegro con fuoco of the Solo Sonata and brings an unexpected sense of desolation to the ensuing Andante sostenuto. Her exemplary partnership with Markus Becker reaps equally enthralling musical rewards in the other works.” --BBC Music Magazine, March 2011 *****

“Tanja Becker-Bender can muster both impressively full tone and a not inappropriate astringent edge” --Gramophone Magazine, March 2011


“she surfs the waves of Schulhoff's sparkling imagination with the deftest of touches...turn[ing] some of the most unpredictable and challenging violin works of the early 20th century into musical morsels of supreme naturalness.” --Classic FM Magazine, April 2011 ****

“There is some challenging music here for both players and it receives performances of the highest quality, as though this music were at the very centre of the standard repertoire instead of well beyond its fringes. Tanja Becker-Bender's tonal palette is wide, not shying away in the least from the occasional healthy dig into the strings; she seems totally at home with the material” --International Record Review, March 2011

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Handel: Water Music, Royal Fireworks


The Orpheus Chamber Orchestra hurl themselves into the robust spirit of the music with exhilarating zeal. Their playing of the resplendent French overture to the Fireworks Music is supple and resonant, introducing a real sense of occasion which Handel most certainly intended. Sometimes I found the orchestra's tendency towards clipped articulation a little predictable but this is a very minor point in the context of so much else that is first-rate.






The Water Music is sensibly subdivided into three suites, each anchored to its own key and dominated by an instrument of a contrasting timbre: a horn for the Suite in F, a trumpet for the Suite in D and a flute for the G major Suite, the most modestly scored of the three. The performances are, as I say, full of spirit and technically highly refined. An occasional predilection for rubato sounds somewhat anachronistic as do one or two of the rallentandos at closing cadences but one can only marvel at the precision of ensemble, the clarity of articulation and the sheer joie de vivre which these players bring to Handel's music. Textures are admirably translucent and this quality in the playing is further enhanced by a sympathetic if slightly dry recording acoustic. The various woodwind groups are effectively balanced and I especially enjoyed the ensemble playing of oboes and bassoon which often feature prominently as in the concluding movement of the F major Suite. The solo flute ornaments in the G major Suite however, struck me as lacking in propriety and considerably at odds with all else in this performance.

Little more need be said. It is a great joy to hear modern instrumentalists approach baroque music in such an enlightened way.

– Gramophone [11/1992]
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3 idiots all izz well

Wednesday, June 5, 2013

Weber: Symphonies, Bassoon Concerto


"The Tapiola Sinfonietta under its former (1993-2000) director Jean-Jacques Kantorow match him in detail in a cleanly balanced recording. Both symphonies are played with relish, all solo opportunities exploited to the full. The music is charming, but Weber is surely still going to be remembered best for his operas and their overtures, but at least it gives clarinettists and, in this instance, bassoonists a chance to shine." --MusicWeb International





Tapiola Sinfonietta, Jean-Jacques Kantorow

Kantorow and the Tapiola Sinfonietta revisit Weber focusing on works by the young composer, before the fame that his opera Der Freischütz would bring. The two symphonies – the only works in the genre that Weber composed – were written in the space of six weeks around New Year 1808, while Weber were staying at the court of the Count of Württemberg-Öls in Carlsruhe (nowadays Pokój in Poland). The symphonies also bear witness to the period of transition from classicism to romanticism, particularly in terms of orchestral colour

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Brahms Works for Viola II


“Rysanov demonstrates yet again his sensitivity and empathy with these pieces. The rich warmth of his tone complements the melancholic autumnal feel which pervades this collection of late works, particularly in the compelling songs, with Alice Coote's beautiful emotive vocal phrasing.” --Classic FM Magazine, May 2011 *****

“Viola discs are flooding the market currently...but this Brahms chamber music CD from Maxim Rysanov steals the limelight...It's addictive.” --The Observer, 27th February 2011




“In the rhapsodic musings of the slow movement Rysanov becomes the idealised incarnation of the gypsy fiddler that Brahms surely had in mind when composing that uniquely florid part. The whole work recieves a performance of such intensity and expressive unanimity that I'm convinced this version was worth disinterring.” --BBC Music Magazine, April 2011 ****

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