Mendelssohn, Panufnik, Takemitsu, Bach

"Alexander Sitkovetsky's sleek, silky tones are equally well suited to the elegantly formal veneer of Mendelssohn's music as to the darker emotional intensity of Panufnik's." --Gramophone

In case you were wondering - I was - what could possibly tie these four seemingly disparate works together, the answer is Yehudi Menuhin. It was Menuhin (the bookletnote informs us) who commissioned the Panufnik and Takemitsu pieces, gave the first modern performance of the early Mendelssohn concerto,

and made a famous recording of the Bach Double Concerto with his teacher Enescu (this last a tenuous connection, perhaps). Listeners will have to decide for themselves how well the programme works in actuality.

I was not entirely convinced, though I was bowled over by Alexander Sitkovetsky's performances, and it's a treat to hear him play in a variety of styles. Indeed, his sleek, silky tones are equally well suited to the elegantly formal veneer of Mendelssohn's music as to the darker emotional intensity of Panufnik's. The latter work is especially welcome as it has been neglected on disc, which is odd considering how attractive and affecting the score is - it overflows with aching lyricism and melancholy tunefulness. Sitkovetsky seems to sing his part, shaping its sometimes angular phrases with sensitivity and grace. He is equally impressive in Takemitsu's more intimate sound world, paring down his toile to a fine, glistening strand, while also exploring the music's fragile sensuality.

In the Bach Double Concerto, Sitkovetsky is joined by his uncle Dmitry, and it's fascinating to hear how well matched they are - Alexander (playing the prime part, I assume) having a more refined and slightly brighter sound. Theirs is a stylish performance, too, featuring long lines, flowing tempi and nimble orchestral playing. In fact, despite the awkward name, the New European Strings Chamber Orchestra are a tight-knit band with a handsomely warm sound. Recorded in the Henry Wood Hall, London, in 2002, when Alexander was not yet 20, this disc offers further evidence of a career that could (and should) be spectacular. -- Andrew Farach-Colton, Gramophone [8/2004]

Trumpet Concertos: Arutiunian, MacMillan, Zimmermann

Gramophone Magazine Editor's Choice - February 2012

“Seraph may not quite be another Veni, Veni Emmanuel...But it's still very enjoyable, from the Haydn-tinged jollity of the first movement, through a mysterious and lyrical slow movement to the rousing finale...Balsom is a superb advocate, combining technical brilliance with penetrating musicianship - a true poet of the trumpet as well as a formidable athlete.” --BBC Music Magazine, March 2012 *****

“[Macmillan's concerto] deftly combines trumpet and strings in music that ranges from the incisiveness of its first movement, via the 'seraphic' plaintiveness of its lightly textured Adagio to the robust interplay of the finale. Balsom takes its not inconsiderable demands in her stride, with the Scottish Ensemble unstinting in its support.” --Gramophone Magazine, February 2012

“[Balsom] plays [the Macmillan] radiantly with the Scottish Ensemble. Concertos by Alexander Arutiunian and Bernd Alois Zimmermann, played with the BBC SSO, highlight Balsom’s technical and interpretative aplomb.” --The Telegraph, 18th January 2012 ****

“'Seraph' is concise and communicative, and, as expected from Macmillan, approachable. Balsom gets its (one hopes) long career off to a strong start...[in the Zimmermann] Balsom is in her element. She advocates for this music with passion and dignity, and the strength of her technique allows her to focus on communicating the work's emotional content...this disc speaks well of her continuing maturation as an artist.” --International Record Review, January 2012

“what really makes this performer so magnetic and distinctive is the quality of the notes that tumble so effortlessly from whatever trumpet she holds in her hands, and whatever music she plays....[Zimmermann's] stylistically eclectic, passionate plea for racial harmony makes an immediate impact, especially when jazz kicks in and the music excitingly hurtles forward two thirds of the way through.” --The Times, 6th January 2012

“the highlight is James MacMillan's "Seraph", with the assertive opening brio giving way to a more reflective Adagio dialogue between trumpet and violin, before emerging refreshed for the animated closing movement.” --The Independent, 6th January 2012 ***

“Balsom’s glorious sound makes you forgive any musical shortcomings [in the Arutunian]...Less pretentious and more musically satisfying than one has any right to expect, [the Zimmermann] is possibly a masterpiece...there’s something calmly uplifting about good brass playing. And this disc, well, uplifts.” --The Arts Desk, 24th March 2012

MP3 320 · 123 MB