Tudor
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Nott…works hard to secure a hugely detailed, texturally alert reading… The slow movement's second subject has an almost seraphic Brucknerian sweetness to counterpoint some incisive truculence,... — More…
Awards:
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Gramophone Magazine, August 2007, Editor's Choice
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Mahler: Symphony No. 2 'Resurrection'
RecommendedAnne Schwanewilms (soprano) & Lioba Braun (contralto)
Bamberg Symphony Orchestra & Bamberg Symphony Choir, Jonathan Nott
Jonathan Nott [reaches] new peaks in his Bamberg cycle...What uplift, rather than crushing weight, in those opening lower-string flourishes...The consoling vision just gets more magical on each... — More…
Awards:
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Building a Library, May 2010, Featured
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…this one of the best recorded accounts we've had since Kubelík and Bernstein… Nott, you feel, has got under Mahler's skin; Gergiev is merely offering an impersonation. — More…
Awards:
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Gramophone Magazine, August 2008, Editor's Choice
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The overall timbre of the strings is compact, with just a touch of warmth. Violin lines don’t thin out, and the sound remains focused. Although bass lines are sometimes a little fuzzy, they... — More…
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Jakub Hrůša has an enviable reputation in Czech repertoire and his reading of My Country has great merit…there is a great deal to admire especially in capturing orchestral detail, aided by a... — More…
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Relatively early works, the Trios concertants for violin, cello and piano demonstrate some of Franck's initial experimentation with cyclic form and the use of fairly small, self-contained motivic... — More…
Awards:
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Presto Favourites, Recommended Recording
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[Tarkövi] traverses every technical challenge with pronounced and disciplined placement...The Haydn is an object lesson in supreme control, the Neruda smooth and efficient and the Mozart pinpoint... — More…
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Mendelssohn: Chamber Music
Ana Chumachenko (violin), Hariolf Schlichtig (viola), Edouard Brunner (clarinet) & Adrian Oetiker (piano)
[The Viola Sonata] is thoughtfully and sensitively played by Hariolf Schlichtig...[The Clarinet Sonata] has a Weberian brilliance that was part of [Mendelssohn's] own musical make-up...It is... — More…
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