Avie
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Markus Groh's supreme control of the instrument and sensitivity regarding timbre and texture enable him convincingly to stretch the Op 117 No 1 Intermezzo's middle section to its arguable breaking-point.... —
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My Lady Rich
Music inspired and written for Lady Penelope Rich. Works by Byrd, Coprario and Dowland
Emily Van Evera (soprano), Christopher Morrongiello (lute), Susanna Pell (viol), Caroline Trevor (contralto), John Potter (tenors), Michael Dore (bass), Emily Van Evera (recorder), Susanne Heinrich (viola da gamba), Lynda Sayce (bass lute), Jacob Heringman (cittern), Asako Morikawa (viols), Lucy...
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…a treasure house of miniature delights - a charming gavotte (No. 1); colourful musette framing an energetic allegro (No. 2); a haunting rondeau melody which followed me round for hours (No.... —
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[Lucchesini's] versatility now extends to Schubert in performances of an exceptional delicacy and restraint, almost as if played late at night before an audience of close friends. —
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Fauré's piano music is at last emerging in its full measure of energy and brilliance. Charles Owen buys enthusiastically into this truer picture of the music...On the technical front Owen is... —
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Janacek, Shostakovich and Prokofiev: Works for Violin and Piano
Kai Gleusteen (violin), Catherine Ordronneau (piano)
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Bach, J S: St John Passion, BWV245
Charles Daniels (Evangelist), Joshua Hopkins (Christus/'Betrachte, meine Seele'), Tyler Duncan (Pilatus/'Eilt, eilt'), Shannon Mercer (soprano), Matthew White (countertenor), Jacques-Olivier Chartier (tenor arias)
Portland Baroque Orchestra & Cappella Romana, Monica Huggett
The opening chorus is the animated - and fastest - I've heard on disc, and the crowd can hardly wait to interrupt the Evangelist in the trial scene. Charles Daniels's narration is focused on... —
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Haefliger is impressive in the fugue [of the Hammerklavier], but his opening movement is rather careful, stressing strength at the expense of sweep and momentum...The subtlety of Haefliger's... —
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Tomkins uses two instruments, both tuned at Baroque pitch: an original English cello from 1798 and a modern copy of a Gofriller five-string for No. 6. The latter's sound is thinner, but more... —
