pentatonemusic Sign Up Information

“This recording marks Rattle’s recording debut as a pianist, and to say that he disappears into the texture of this talented group of soloists is to pay him the highest compliment – his accompaniments are reliably self-effacing and thoughtful.”

LIMELIGHT

"Piemontesi's interpretation is surprisingly distinguished for a pianist who is just thirty-six years old. He shows a remarkable understanding of Schubert and his complex style, managing to perform the most musically-expansive movements in the most intimate way."

SCHERZO

"The affect of each movement is lifted out delicately, with swinging dance movements, and many of the slow movements so enchanting that they move you to tears. [...] The ensemble proves once more that it is one of today’s most exciting early music formations."

CONCERTI

"Manze's interpretation with the NDR Radiophilharmonie are surprisingly Romantic - and none the worse for that. To make the two most famous among all 18th-century symphonies sound so fresh is no mean feat. I enjoyed these performances immesely."
Orchestral Choice
BBC Music Magazine

"She is a charming, persuasive advocate for these two indelible works. The English Chamber Orchestra, too, offer fine support and, with a range of tone colours match de la Vega’s recreative imagination."
Gramophone

"This new version by chamber musicians in their prime... gets to the heart of Mozart's genius in the serenely unfolded Adagio, almost 13 minutes of bliss."
The Sunday Times

“Moser articulates and phrases lightly, realizing the most beautiful sounds with his Guarnieri; Romantically passionate, yet full of classical lightness and composure. Pianist Beatson is fully congenial, his playing perfectly balanced.”

LUISTER

"The Wagnerian voices of the two leads are flatteringly recorded: Davidsen is a womanly, three-dimensional Agathe, her big dusky soprano still flexible enough to navigate the florid passages of her first aria, whilst the heroic writing for Max holds no terrors for Schager, a veteran Siegfried."
OPERA NOW

"The orchestra [...] is extremely accomplished. There's a delightful hint of portamento in the introduction to the first chorus (and again in the postlude). The horns are splendidly prominent, both in the 'orribile sinfonia' to Act 2 and in the minore sections of the second Ballo at the end. "
GRAMOPHONE