The importance of this set cannot be overstated. First released on seven separate albums by Olympia, it launched the international reputation of Anthony Goldstone and Caroline Clemmow as one of the world’s foremost duos, and it remains the only complete recording of Schubert’s original duet compositions including many little-known masterpieces and one Polonaise completed by Goldstone from Schubert’s unfinished manuscript. Each album concludes with a Polonaise encore written by Schumann, inspired by Schubert. The set represents the whole stretch of Schubert’s output from D. 1 to D. 968. The performances are superb, exhilarating and perfectly integrated: the husband and wife team really do play like one person with four hands. Tragically, Anthony Goldstone died on January 2, 2017 while the design work of this set was being finalized, and did not live to see the reissue of this marvelous collection, repackaged and remastered as a complete set.

Trio Anima Mundi, a superb ensemble from Melbourne, Australia, makes it's recording debut on Divine Arts. The four works are exquisite Romantic pieces and includes the world premiere recording of Miriam Hyde's Fantasy Trio.

Acknowledged without reservation as the greatest composer working in England in the 18th century, Georg Frideric Handel is revered worldwide as a master composer. His Harpsichord Suites are among the finest instrumental works of the period, we are privileged to present exquisite performances by Gilbert Rowland, one of Europe's foremost harpsichordists.

"It is impossible to praise this new release too highly. The harpsichord, a copy of a two manual French harpsichord after Goermans (Paris 1750), built by Andrew Wooderson in 2005, is a lovely instrument. The combination of Handel, Gilbert Rowland, Wooderson’s fine harpsichord, the recording venue at Holy Trinity Church, Weston, Hertfordshire and the recording engineer John Taylor is unbeatable providing, as it does, a collection of these wonderful suites that I will return to again and again."

-- The Classical Reviewer

Almost nothing to fault and everything to enjoy here.

This excellent pair of CDs follows hard on the heels of Divine Art’s release of the Avison Ensemble’s recording of their eponymous composer’s Opp. 9 and 10 Concertos (DDA 21211), which I so recently recommended. If anything, this is finer music than those concertos – hardly surprising when the originals were sonatas by none other than Domenico Scarlatti – and the performances and recording are equally fine.

The London publication in 1739 of 42 Scarlatti sonatas provided Avison’s inspiration in arranging movements from several of those as concerti grossi. His excuse, if one were needed, was the difficulty of performance of the music in its keyboard original state, but he couldn’t help also preening himself on having "tak[en] off the Mask which concealed their natural Beauty and Expression". I beg leave not to get into the thorny question of the adequacy or otherwise of the originals – performances of the calibre of those of Richard Lester on his complete Nimbus cycle would suggest that there was little amiss – but the music certainly sounds more varied and probably more amenable to most modern ears in its orchestral dress. More recently, Tommasini had the same idea in his arrangement as a ballet for Diaghilev of Scarlatti’s music in The Good-humoured Ladies.v Avison didn’t orchestrate whole concertos; some, like No.1 are from just two sonatas (Kk91a/d and Kk24), others from four different originals, like No.2, from KK 91c, 13, 4 and 2. The Divine Art booklet makes the provenance of each movement clear, also indicating with an asterisk movements transposed to a different key, with a dagger where the movement has been shortened or altered, and with two asterisks where the source is unknown.

Most of those unknowns, mainly slow movements, were probably Avison’s own compositions – sounding in no way out of place in the company of the Scarlatti-derived movements. Everything, original or not, is very skilfully arranged – preferable to the Sinfonie di Concerto Grosso of the elder Scarlatti, Alessandro, as least as performed, slightly heavily, by I Musici on Philips 400 017 2 – one of the first batch of CDs in 1983, but no longer available. (For all my reservations, this is worth reissuing, but there are alternatives on Tactus TCC661906 and 661907 and CPO 999 8562.)

Hitherto my benchmark recording has been that of the Academy of St Martin under Neville Marriner (Philips Duo 438 806-2, no longer available). It was, indeed, from the ASMF on a long-deleted Oiseau-Lyre LP that I first came across the music of Avison and his contemporary Boyce and discovered thereby that English music between Purcell and Elgar had not been quite the desert that it had been portrayed as.

This new recording is ample compensation for the deletion of the ASMF set. It doesn’t exactly wipe the floor with the earlier version, which is still worth considering if you find it as a remainder or second-hand at a reasonable price. Surprisingly, some of the tempi on the new set are slightly broader than on the Philips. No.1/iv, for example, takes 4:43 at Beznosiuk’s hands, 4:01 at Marriner’s. On CD2, No.7/iv now takes 4:17 against Marriner’s 3:33. I compared the two versions of these movements and found, as is often the case, that both make perfect sense in their own context. Perhaps I lean slightly to Marriner in 7/iv – he stresses the allegro part of the marking, Beznosiuk the affettuoso part – but I don’t want to make a big issue of it.

I shall still want to hear the ASMF versions – I couldn’t resist listening to the two CDs straight through for comparison – but the new versions are likely to make for more frequent listening. It’s a tribute to the music and to both performances that I could listen to four well-filled CDs in one session without becoming sated.

The ASMF version employs modern instruments, though with cognisance of period practice; the Avison Ensemble employ period instruments, as itemised in the booklet. There is a rival period-performance from the Brandenburg Consort and Roy Goodman on Hyperion Dyad CDD22060 (2 CDs for the price of one). I haven’t heard this version but it has been described in some quarters as likely to sound a little rough and ready to those not fully attuned to early instruments. Mark Sealey certainly didn’t in general share that opinion in his review of this set, and I find it a little surprising in view of the excellence of their performances of the Handel Op.3 concertos which I have recommended here on Musicweb.

You certainly won’t find anything of the sort about the playing of the Avison Ensemble on the new set – this is early music without the rough edges, by which I don’t mean to imply that it’s dull or over-polished: this isn’t the early-music equivalent of the Berlin Phil under Karajan. I’m still hard put to hear the continuo, though, as I was with the earlier Op.9/10 set – I don’t want to hear a monster harpsichord clattering away, but I’d like to hear a little more of it. Otherwise, the recorded sound is first-rate.

The Avison Ensemble have already recorded the music of their namesake for Naxos and Divine Art. Their 2-CD recording of the Concerti Grossi, Op. 6 on Naxos 8.557553-4 was welcomed by Jonathan Woolf and Johan van Veen as doing Avison proud – see JW’s review and JV’s review. Robert Hugill was equally appreciative of their later recording of Opp. 3 and 4 (8.557905-6 – see review). I hope to include an appreciation of the Naxos recording of the Op.6 works in my November, 2008, Download Roundup: this is Avison’s finest music with the possible exception of the Scarlatti-based concertos.

Having switched to the Divine Art label, the Ensemble recently recorded the newly-discovered set of Concertos after Geminiani’s Op.1, to the satisfaction of JV again, though he had some reservations about the recorded sound – (DDA21210, see review). All these recordings are very worthy of your consideration but the Naxos Op.6 and the new Divine Art sets are probably the best places to start. With the new set offered at two-for-one, it’s very little dearer than the Naxos, so why not get both?

The only black mark that I can place against this whole enterprise is the failure to provide Avison’s dates, which is all the more surprising when Divine Art include such a wealth of detail about the provenance of each movement.

-- Brian Wilson, MusicWeb International

Bradbury and Roberts are two of the most respected British instrumentalists of today. They renew their working relationship, following previous collaborations, in this very fine performance of three great German works. "Bradbury's technique is faultless, as is Roberts's" - Fanfare (USA)

Schubert did of course write a great deal of music for two pianists to play together, and Goldstone & Clemmow, Britain's top duo, have recorded all of it (on 7 CDs for Olympia Records - no longer available). Almost unknown and certainly neglected are the brilliant transcriptions made by other composers of some of Schubert's masterpieces. These have been unearthed from various places and recorded for the first time. This is a groundbreaking performance which will be required by all lovers of Schubert and of piano music alike. (ALL WORLD PREMIERE RECORDINGS except Polonaise)

Includes work(s) by various composers. Soloists: Anthony Goldstone, Caroline Clemmow.

Includes work(s) by Baldassare Galuppi. Soloist: Peter Seivewright.

REVIEWS:

"A revelatory version of a Tchaikovsky symphony... A major discovery... A cracking performance... Gloriously played... Mind-blowing." - Michael Tumelty, Glasgow Herald

"There are several good reasons to buy this fascinating programme... The impeccable precision, tonal allure and stylish panache of Goldstone and Clemmow's playing is sheer pleasure, and they are handsomely recorded." - BBC Music Magazine

"Excellently performed... Lovers of the piano duet medium need not hesitate." - Gramophone

"Superlative playing... Highly recommended." - John Phillips, Musicweb

"Fabulous playing and a definite 'grabbit'" - Showcase Magazine

"A tour-de-force... Goldstone & Clemmow bring a subtle intimacy to the music that is really wonderful…pristine presentation, copious notes and stunning recording... A superb disc." - ClassicalNet

"Highly enjoyable... Well worth hearing." - David Denton, Yorkshire Post

Lucia Micallef Is One of the Many Maltese Musicians of Enormous Talent Who Are Making the Island a Hotbed of Music New and Old. This Album Features Lucia in Four of Bach's Keyboard Concertos Played on a Modern Piano with a Superb Clarity of Sound and Phrasing Backed By the Excellent Euco.

The music of John Jeffreys is an absolute delight - overtly Romantic and non-modernist, very much in the tradition of Delius, Warlock and Vaughan Williams. Here a number of delicious orchestral works of stunning beauty are accompanied by fine dramatic vocal works and a Suite of Variations for piano. This CD is essential for anyone interested in the English pastoral tradition - or just in exquisite music.

Paraphrases, transcriptions and variations on operatic themes for piano solo. Some well known pieces here and some very rare pieces, all stunningly performed and the most wonderful programme of delights. An outstanding collection performed with exemplary grace and style." - Julian Haylock (International Piano)

John Garth (1721-1810) may not be a familiar name to many now, but in the north-east of England in the middle decades of the 18th century he was a well known figure, particularly in Durham, where he lived and worked as a concert promoter, organist and cellist. Newcastle knew him too, not least because that city’s leading musical light, Charles Avison, was a friend (and possibly teacher).

It is in the last two of Garth’s above-mentioned occupations that we meet him on this enterprising release, which offers the Six Concertos for the Violoncello published in London in 1760, but which he had been performing at such venues at the Durham Assembly Rooms for some years before. They turn out to be accomplished stuff: melodically attractive, pleasingly fluent and set out on a leisurely scale which, while occasionally suffering a phrase-repetition too many, at no time feels as if it is seriously outstaying its welcome.

Garth was a declared admirer of CPE Bach, and these concertos could be described as mid-century galant in style, if in a slightly conservative version which, like much English music of the time, can never quite forget Corelli. It rarely runs deep but it is always good company, and there are touching moments such as the melancholy slow movements of Concertos no. 4 and 5.

The Avison Ensemble is Newcastle-based and dedicated to rediscovering the music of the 18th-century north-east, and their performances are technically and musically skilled, both from soloist Richard Tunnicliffe and the one-to-a-part band vibrantly led by Pavlo Beznosiuk. The recording is clear and airy – perfectly fitting for this refreshing release.

-- Lindsay Kemp, Gramophone

Unfailingly enjoyable music, performance and recording.

The Avison Ensemble continue to do proud the composer whose name they bear. Having recorded his Opp. 3 and 4 (Naxos 8.557905-6 – see review) and Op.6 Concertos (Naxos 8.557553-4 – see Jonathan Woolf’s review and Johan van Veen’s review), Concerti after Geminiani (Divine Art DDA21210 – see review), the Op.9 and Op.10 Concerti Grossi (DDA21211) and his Concerti Grossi after D Scarlatti (DDA21213), they now turn their attention to the Op.1 Trio Sonatas and the Op.8 Keyboard Sonatas with accompaniments. I’m on record as offering high praise to DDA21211 – see review – and DDA21213 – see review – and Jonathan Woolf was also lavish in his praise for DDA21213 – see review.

The works on the new set may not reach quite the heights of the Concertos after Geminiani and Scarlatti – go for those two sets first – but they are by no means negligible: unfailingly tuneful and well-constructed. The Op.1 pieces may well have had their origin as exercises when Avison was being tutored by Geminiani; if so, they are the work of a very competent and inspired pupil, by no means a slavish imitator of his mentor. Even when he adapted the keyboard works of Geminiani and Scarlatti, Avison did much more than merely orchestrate their music, just as Geminiani had done in orchestrating the music of his own mentor, Corelli.

The Op.1 Sonatas are advertised on their title page (reproduced in the well-documented Divine Art booklet) as ‘for two violins and a bass’. This makes them, in effect, Trio Sonatas in the manner of Corelli – indeed, they all follow the four-movement pattern of Corelli’s Sonate da chiesa, slow-fast-slow-fast, though it is unlikely that they were intended for church performance. The ‘bass’ is performed here on the cello and chest organ, making for a very full sound. I’m on record as preferring the cleaner sound of violin and harpsichord, without cello, in Corelli’s Op.5 Sonatas (Naxos 8.557799 – see review) but the fuller sound works well in Avison’s Op.1, making the music sound much closer to the Concerti Grossi on the Ensemble’s other recordings.

The Op.1 Sonatas are in a form transmitted from Corelli via Geminiani. By the date of the Op.8 Sonatas, however, the music of Rameau was becoming influential in England and Avison specifically mentions ‘Scarlatti, Rameau and Carlo-Bach’ (i.e. CPE Bach) alongside Geminiani in his ‘Advertisement’ for the set. The notes in the booklet very reasonably speculate that Avison knew Rameau’s Pièces de clavecin en concerts: he certainly praises the French composer for his ‘spirited Science’. Once again, however, whatever the degree of Rameau’s influence, Avison is no slavish imitator. I hear the influence of Scarlatti and, perhaps, even a foretaste of Boccherini in Sonata No.3 (trs.6-7).

The title page of Op.8 (again, reproduced in the booklet) described the works as ‘for the harpsichord with accompanyments for two violins and a violoncello’ and he specified that the string parts ‘being intended for Assistants only ... ought no where to overpower the Harpsichord.’ This brings me to my one reservation concerning the new recording. Whatever Avison’s intentions – reinforced by the fact that the harpsichord part is capable of being performed alone – the ‘Assistant’ strings do sometimes prove intrusive on the recording. This may well be an inherent problem in the music itself rather than one to be laid at the door of the performers or the engineers. Without suggesting that multi-miking or other trickery should have been employed, I should have thought it possible for the harpsichord part to be brought out more fully on a recording.

It’s a minor criticism and it didn’t spoil my enjoyment unduly. Otherwise I have nothing but praise for everything on these CDs. Music, performance and recording – preferably with a slight volume reduction from your normal setting – all contribute to a most enjoyable experience and the booklet is a model of its kind. As on the earlier recordings, there are no rough edges to the sound of the period instruments employed; this is early music without tears. I look forward now to the appearance of the Op.5 and Op.7 sonatas.

-- Brian Wilson, ClassicsToday.com

This splendid recital of works by Johann Sebastian Bach has been produced in collaboration with Canon gate Kirk, Edinburgh, to display the fine and distinctive sounds of the instrument. The booklet contains a history of the organ and it's full specification. David Hamilton's second CD, as with his recent Buxtehude album, shows a performer with skill and musicianship and also a deep empathy with the works of the baroque masters. "This is, unequivocally, one of the most enjoyable Bach recordings to come my way recently. Hamilton and the Frobenius are perfectly attuned to the repertoire: A Bachian journey of pure, almost chamber intimacy." - Graeme Kay (Choir & Organ)

A fine recital of 20th century music for flute and piano by English composers including some rare pieces, all melodic and memorable. A special recording as it features the traditional "English" wooden flute rather than the metal flute now more prevalent. It's warm tone embellishes these works even more.

Husband and wife team Robert and Linda Stoodley are an adventurous duo with a very wide range of repertoire from the pops to major classical works which they present to appreciative audiences all around the world, spending much time as recitalists on cruise ships. They are also accomplished arrangers, as demonstrated by the brilliant transcriptions on their recordings. Following their well received Divine Art debut album 'France Revisited' they present superb new arrangements of George Gershwin works from the serious (Porgy & Bess) to tin pan alley songs, often interwined and merged. Purists may frown but such arrangements, sampling and "medleying" were well known to Gershwin himself.

Carson Cooman is many things musical - organist and Composer in Residence at the Memorial Church, Harvard University; writer, critic and consultant, concert organist, and above all a highly prolific composer of music in a wide variety of genres, from orchestral to song. His organ compositions come in many styles, from liturgical models, to more gritty and substantial pieces such as his organ symphonies and preludes and fugues. This album contains a mix of liturgical and secular works of great variety and individuality. Erik Simmons is a superb organist, making his tenth Cooman organ album for Divine Art. He is playing the wonderful 'Sun Organ' of St. Peter & Paul, G�rlitz, recorded through the Hauptwerk system. This is volume 10 of this highly praised series. Volume 11 has been recorded and is scheduled for release in mid 2019.

Alessandro Grandi is widely regarded as one of the finest composers from Italy in the early 17th century but his music itself is little known. This premiere recording of his 16 Motets for Five Voices rectifies that and demonstrates his extraordinary musical powers. Also on the CD are musical items from the soundtrack of the film/live/multimedia work "Fallen", a collaboration between Musica Secreta and playwright Fiona Mackie.

“[Guido] certainly knew how to write attractive music, full of invention and lovely sonorities. If anyone is tired of Vivaldi's Four Seasons, and I suspect many will be, then this new disc provides a refreshing alternative with thrilling playing. The recording made in New College, Oxford, is first rate.” – TheClassicalReviewer

“Here is a beautiful work, vigorously played by 'The Band of Instruments', a group based in Oxford that accompanies Caroline Balding who shows herself to be a great violin virtuoso . Giovanni Antonio Guido's 'Four Seasons' might not show the musical richness of Vivaldi's work, but this is nevertheless music extremely pleasant to listen to, in a fresh and sharp reading by The Band of Instruments.” - Remy Franck, Pizzicato

This CD stands on it's own merits as an exceptional program of early sacred music, transcribed for and performed by the ethereally beautiful voices of Musica Secreta and Celestial Sirens. However, like their earlier CD (dda25062) it has an added rationale, as the 'virtual sound-track' to the superb new novel 'Sacred Hearts', by Sarah Dunant. The music on the CD refers directly to many of the scenes and events in the book, allowing the reader/listener to more fully absorb themselves into the ancient world and characters so wonderfully portrayed.

Arnold: The Return of Odysseus

R E V I E W S

They're at it again. The indefatigable piano duo team of Anthony Goldstone and Caroline Clemmow have been hard at work unearthing more hidden treasures from the classical repertoire: orchestral and chamber music arranged for piano duet or two pianos. A couple of years ago their first volume of "unauthorised" piano duos of Schubert's music featured The Trout Quintet, sparklingly rendered by this superlative husband and wife team of pianists, who sacrificed none of the character of the music in their interpretation of the transcription.

Now they have dug up a version for piano duet of the great B flat Piano Trio, which captures the spirit, the flavour and the zest of the vast and mighty trio. The arrangement was made by one Josef von Gahy, astonishingly not a professional pianist but a civil servant, though he must have been able to find his way around the keyboard as he was not only a friend but a regular duet partner of Schubert himself. A cracking disc for devotees of this genre, with a stunning transcription of the Arpeggione Sonata which catches all the grace, poise, and refinement of the work, along with its bubbling virtuosity."

-- Michael Tumelty, Glasgow Herald

The history behind this disc is interesting. Joseph von Gahy was not only a lifelong friend of Schubert but also his duet partner. After the composer’s death Gahy set about transcribing several of his partner’s vocal and instrumental works for piano duet. There is no question of the authenticity of the enterprise. Gahy remained faithful to the originals, even to the extent of parts of the phrases being split between the two players. So seamless is the performance of Anthony Goldstone and Caroline Clemmow that this cannot be detected.

The disc opens with Gahy’s arrangement of the Piano Trio in B flat major. The music is sublime. Exquisite melodies pour out from a composer in full creative flow reminiscent of his Lieder writing. Does it work without the violin and cello parts? On the whole, yes, although I’m not completely convinced about the Scherzo. Goldstone and Clemmow give a masterclass in the art of duet playing. They are completely sensitive to each other’s performance and play as one. After such a stunning opening the problem is that anything else that follows is likely to be an anti-climax – and it is. The Notturno, also written for violin, cello and piano, just doesn’t work as a duet; the Sonata in A major for arpeggione – an instrument long forgotten- and piano is not the composer’s best although there is evidence of his flair for melodic writing. The only work here originally written for piano duet is the so-called “Friendship” Rondo in D major, a nice-enough piece but not in the same league as the Trio. In spite of these reservations the disc is worth buying for that performance alone.

-- Shirley Ratcliffe, International Piano

The Piano Trio, D 898, Notturno D 897 and 'Arpeggione' Sonata D 821 are all original Schubert works and there is certainly nothing amiss to have them labelled unauthorized. So why is this and the previous issue of the 'Trout Quintet' been tagged as such? Josef von Gahy, who was not a professional musician, but a Hungarian civil servant happened to be one of Schubert's closest friends, and his admiration for the composer knew no bounds. They often played together four-hand works and Gahy's fine playing drew words of praise from Schubert many a time.

By the time of the latter's death, their relationship had become an inseparable one. As a humble homage to his great idol, Gahy decided to arrange some of Schubert's pieces for piano duet and this recording embraces three such arrangements plus the 'Friendship' Rondo, D 608, an original Schubert piece for two pianos, composed in honour of his great and dedicated friend.

The Goldstone and Clemmow duo, married since 1989, have etched a name for themselves in such repertoire, and these interpretations are as absorbing and entertaining as the arrangements themselves. While always highlighting the romantic streak of these works, they unfailingly bring to the fore both Schubert's and Gahy's flair for structure and melody.

-- Gerald Fenech, www.classical.net

Vyacheslav Artyomov is considered by many to be Russia’s greatest living composer. Since the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Scriabin, Honegger and Messiaen to name a few – but melded into a unique voice. The Divine Art Artyomov Retrospective is a mix of new recordings and former Melodiya releases. It continues with the 7th album containing two works for percussion ensemble and one orchestral – all typifying Artymov’s true genius as a truly individual composer who can make thoroughly modern music listenable and demanding further regular hearings. Mark Pekarsky leads the first percussion ensemble established in Russia and still the foremost group in that country. Russian-American conductor Virko Baley directs the superb Moscow Philharmonic.

Vyacheslav Artyomov is considered by many to be Russia’s greatest living composer. After the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Scriabin, Honegger and Messiaen to name a few – but melded into a unique voice. The Requiem, together with his massive Symphony cycles, was the work which brought enormous acclaim to Artyomov both in Russia and in the USA. It was the first Requiem to be written by a Russian and the first to be performed in the former USSR. Dedicated ‘to the Martyrs of Long-Suffering Russia’ it is a true masterpiece in which several parts of the mass are given treatments very different from the ‘norm’. Exciting, moving and bristling with power and passion, this is a Requiem to stand alongside the established great Requiems of the past. The performers are those who gave the Moscow premiere, and give a stunning performance.