
It’s all too easy to take Kathryn Stott for granted. […]
The album title for this two CD set, “Sir William
Kathryn Stott has long been an exponent of Fauré’s music, and a very good one as this lovely performance of the Fourth Nocturne shows. Nor
I’ve never understood why Frank Martin’s Cello Concerto isn’t a regular visitor on the concert circuit, but then I’ve never understood why Martin’s music in
If you want a superb collection of Honegger’s music for cello, both chamber and orchestral, then this CD is just the ticket. I am completely
Kathryn Stott and the Škampa Quartet play Dvorák’s Second Piano Quintet with a striking lightness and finesse. The opening theme, sung out by the cello,
Kabalevsky’s music is tuneful, undemanding, and at least on this disc, comparatively forgettable. The First Piano Concerto seems to take a page from Prokofiev’s Third,
George Lloyd’s Third Piano Concerto is his largest effort in the medium, an expansive work in three big parts lasting about three quarters of an
The ghosts of Shostakovich and Prokofiev hang over Kabalevsky’s two piano concertos, the second of which makes a far more imposing impression than the third,
Ervín Schulhoff’s 1994 centenary inspired a windfall of recording projects from several labels (Koch and Supraphon most prominently) that drew attention to the wide range