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May 18 , 2012

Reviews of the Week

Steve Kuhn, Steve Swallow and Joey Baron impress the reviewer of German magazine FonoForum with the maturity of their playing on Wisteria

Der Titelsong ‚Wisteria’ von Art Farmer ist wegweisend: eine konzentrierte, weil vollständig auf das Substanzielle reduzierte und doch ungeheuer sangliche Ballade. Aber die drei können auch anders, etwa in der Hardbop-Nummer ‚A Likely Story’, in der Swallow den gleitenden Walking Bass gibt, während Baron die Ride zum Tanzen bringt. Gerade im hellen Glanz seines virtuosen Beckenspiels trifft er sich mit Kuhns gleißendem Diskant. Natürlich taugt auch Swallow nicht zum Wasserträger. Stets ist er mit seinem E-Bass auf der Suche nach ‘gitarristischen’ Einfällen. So rotieren die Rollen von Sidemen und Solist. Nichts scheint festgelegt, und doch kommt alles mit einer Routine ungeheurer Erfahrung daher.
Tilman Urbach, FonoForum


Renowned American music blog Blindedbysound.com on Miklós Perényi's Britten, Bach, Ligeti

This is an album that works on a number of levels. There is the obvious appeal to fans of Miklos Perenyi and the three composers he pays tribute to. There is also a very deep appreciation for the cello (technically the violoncello) as a solo instrument. […]
In the end, this is simply a masterful performance by one of the great musicians of our time.
Greg Barbrick, Blindedbysound.com


Blogger Greg Applegate Edwards on John Holloway's Sonate concertate in stil moderno

These are well crafted, melodically rich works that bring out a virtuoso brilliance that John Holloway handles with dash. The sonatas that include Jane Gower’s dulcian give us two uniquely coloured instruments engaged in jaunty pyrotechniques and moving expressions. […] In the end you get glowing small-group performances of compositions that have the alternating sweetness and fire of the best chamber music of this period.
Greg Applegate Edwards, Classicalmodernmusic.Blogspot.com


Respected daily The Scotsman is thrilled by the Hilliards Ensemble's readings of madrigals by Don Carlo Gesualdo on Quinto Libro di Madrigali

Published in 1611, these works display all the extraordinary harmonic twists and turns that allowed Gesualdo to express extreme emotions in a way they had never been before, not even by his contemporary Monteverdi. There’s a boldness of delivery, coupled with deliciously turned phrases, that gives these performances an intoxicating beauty.
Kenneth Walton, The Scotsman