"However, in contrast to Abbado's boring Berliners, Fischer's orchestra plays better, and he's much better recorded. Just listen to the characterful brass in the coda of the first movement, with a particularly fine first trumpet, or the splendid woodwinds in the trios of the scherzo. (…) for a legitimate alternative viewpoint you will find it difficult to do better than this." ~classicstoday
Following the Artemis Quartet‘s prizewinning Beethoven Quartet cycle on Virgin Classics, the Berlin-based ensemble has recorded Schubert’s last three quartets, works that Artemis cellist Eckart Runge praises for both their “incredible simplicity and purity” and their “almost terrifying modernism”. Awarded both Germany‘s prestigious Klassik ECHO award and France’s Grand Prix de l’Académie Charles Cros in 2011 for their Virgin Classics Beethoven cycle, the members of the Artemis Quartet now release an all-Schubert CD. It presents the composer’s final three string quartets: No 13 in A minor, ‘Rosamunde’ (which draws on his incidental music for Helmina von Chezy’s play Rosamunde); No 14 in D minor, ‘Death and the Maiden’ (with its haunting second movement based on his song Der Tod und das Mädchen), and No 15 in G major.
Banjo virtuoso Béla Fleck has certainly broken more boundaries than any other picker in recent memory, from his early days performing bluegrass-inspired folk compositions on Rounder in the late '70s to his quirky jazz freak-outs with the Flecktones throughout the '90s. In late 2001, this peculiar innovator released an album of banjo interpretations of classical works by Bach, Chopin, and Scarlatti. Before classical purists roll their eyes, they must remember that the banjo hasn't always been seen as the instrument of choice of backwoods musicians in the Appalachian mountains, but as recently as the 1940s was used as a primary rhythm instrument in all manner of parlor music.
'This is a magnificent retrospective of Angela Hewitt’s achievement as a pianist in the keyboard works of J.S. Bach. As a project which was initiated a little before MusicWeb International’s classical pages took to the air but which has been covered extensively by numerous reviewers here over the years, the completion and bringing together of this remarkable set of recordings marks something of a milestone for everyone involved with classical music, as well as for Hyperion'