The Stuttgart Chamber Orchestra is a prime example of an ensemble which no longer pays any attention to the separation of historical and modern instruments...

The Stuttgart Chamber Orchestra is a prime example of an ensemble which no longer pays any attention to the separation of historical and modern instruments or historic and modern styles: here the things which belong together have come together, so that music performance can be filled with emotion and expression. 4009850011101 TCET111.2 19541938 .00 23.99 .25 TACET RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 03/27/2002 http://media.aent-m.com/graphics/items/sdimages/c/500/9/5/1/7/1997159.jpg 11 BACH / SUDBRACK / KOROLIOV WIDDER: KOMPONISTEN UND IHRE STERNZEICHEN ... charmingly done, witty and musically top notch... (Neue Westf hlische) 4009850002406 TCET24.2 19423043 .00 23.99 .23 TACET RECORDS COMPACT DISCS CLASSICAL CHAMBER MUSIC & RECITALS 01/01/1990 http://media.aent-m.com/graphics/items/sdimages/a/500/0/6/1/7/1997160.jpg 5 BACH / BAX / HUMMEL / BRAHMS / LINDEMANN / MARTIN HARTMUT LINDEMANN & BEN MARTIN My skepticism on my first encounter in about 1991 - "Never heard of him, who on earth is Mr Lindemann?" tipped suddenly over into unbounded enthusiasm, which has since mellowed into calm confidence: Lindemann has for the first time convinced me so firmly of the use of a rounded bow, with his portrayal of Bach's Chaconne, that I really "couldn't bother" about it's usage. The music created with it is overwhelming. [...] And if a player can summon up enough ardent eloquence, which supersedes all questions about the wherefore of the realization, we can only be talking about a really top-drawer musician..." (Stereoplay) "... There are basically two ways to play this work (Arnold Bax Sonata): tightly and dramatically, as Tertis and Bax do; or more discursively and romantically, as William Primrose and Harriet Cohen do in the other notable historical recording. Lindemann and Martin take the latter course, but execute their interpretation more convincingly than Primrose and Cohen. They shape the Celtic-influenced melodies with a sure touch and get right inside the music. (...) If you buy no other viola recital in 1994, buy this one." (The Strad)