The flautist Sharon Bezaly has, over the past 20 years, released some 40 albums on BIS, recordings which have contributed to the international recognition that she enjoys. Both on recordings and in concert she has done much to champion new repertoire – she has had no less than 20 concertos dedicated to her. On her new release, however, she turns to core repertoire, although not necessarily that of her own instrument. The two sonatas by Cesar Franck and Gabriel Faure were composed with the violin in mind, and even though Prokofiev's sonata was originally intended for the flute it is often heard in the composer's own version for violin and piano. But joined by the legendary pianist and conductor Vladimir Askenazy, Sharon Bezaly now claims (and reclaims) the three works for her own instrument, in eloquent performances that make the best possible case for the flute.

The Swedish string ensemble Camerata Nordica and its artistic director Terje Tønnesen made their first joint appearance on BIS in 2013 with a critically acclaimed all-Britten program, released in conjunction with the ensemble’s BBC Proms début. The team now returns with another program of 20th c. music for strings – this time by four different composer: Bartók, Webern, Prokofiev and Hindemith, spanning the years from before WWI to a few days before the outbreak of WWII. These musicians are completely attuned to each other's dynamics, attack, phrasing, and blend.’ - Fanfare

Yuri Temirkanov makes Prokofiev's well-worn Classical Symphony sound invitingly fresh through his swift tempos and painstaking observance of rhythm, accent, and dynamic contrast. The outer movements proceed with a breezy playfulness, while the larghetto and gavotte exude 18th-century elegance. The Lieutenant Kijé Suite is similarly accomplished as Temirkanov evokes the work's contrasting moods while nicely capturing its folk atmosphere, especially in the Troika.


Temirkanov doesn't really break any new ground in the Fifth Symphony, but his rendition nonetheless is impressive for its flowing tempos and sense of drama, especially at the close of the first movement with its phalanx of brass and percussion. Temirkanov uncovers some of the score's inner details, such as the usually inaudible piano part in the first and third movements. But the real star here is the St. Petersburg Philharmonic, whose bold brass, lively winds, and sumptuous strings (in the Adagio especially) make this one of the better versions on disc. With such fine performances, it's unfortunate that RCA's acoustically dry recording drains the sound of warmth, while the low levels require you to crank up the volume--but then, watch out for those big climaxes in the symphony!
--Victor Carr Jr, ClassicsToday.com