The Times of London said of the playing of Alison Balsom that “she makes the trumpet sing with an irresistible exuberance and eloquence”. I think that hits the nail squarely on the head. Her virtuosity is of quite a different order from that of, say, Sergei Nakariakov, whose blistering technique is something like watching a very accomplished acrobat. In Balsom’s case, it’s much more like listening to a very fine coloratura singer. This is especially evident in the slow movements of these fascinating concertos, where the trumpet really shines and sings with a lyricism rare for the instrument. This disc has a collection of the sort of music which really shows off Alison Balsom’s talents. The writing in many of these Baroque pieces is complex and high, but she takes it in her stride with polished ease. The one exception in the list of usual Baroque suspects (Tartini, Vivaldi, Marcello, Albinoni) is Domenico Cimarosa, who didn’t actually write the charming concerto included here. It was “assembled” by Australian composer Arthur Benjamin from themes from Cimarosa’s many operas. The adaptation is a great success,… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

That augurs badly for this disc, which presents new settings of six works by Argentina’s tango-master Astor Piazzolla, alongside four original compositions inspired by Piazzolla by pianist David Gordon and violinist Adam Summerhayes. Piazzolla, an innovative composer and musician who created cutting-edge music inspired by the tango tradition, breathed fresh life into what had become a rather tired musical genre. But although an inspired creator, he set strict limits on his musical expression. He used a bandoneon (an instrument similar to a concertina) as his main instrument. He eschewed strings and percussion, and even disliked jazz-style improvisation. Yet this album presents a string orchestra with piano, and positively glistens with percussive effects from the stringed instruments as well as great expressive jazz riffs. It should be a universe away from Piazzolla’s world. Yet it is not. In their very free interpretations of Piazzolla’s works, and in their own compositions, Gordon and Summerhayes honour the composer by giving us some wildly expressive and continually exciting music which is as thrilling as the tango itself. As an act of homage, this works. As an explosion of raw musical passion, it works even better. Continue reading Get unlimited digital access from $4 per…

The Spanish title has theatrical associations; the work’s formal opening giving way to a livelier section in which the soloist is seriously tested. Paul Goodchild passes with flying colours. From the same period are sonatas by Martinu and Hindemith. Even in an intimate work such as the Sonata, Hindemith’s stern style is on show, the musical responsibilities shared equally between the two musicians. Goodchild’s poetic side can be heard in the lovely Choral, La Vieille Année s’en est Allée by Pierre Max Dubois. Bernstein’s Rondo for Lifey, which follows, is in perky contrast. In a similar vein, Ibert’s Impromptu has a jaunty feel to it. Australian composers are also well represented.  Mathew Hindson’s Ignition: Positive is a study in contrasts. The slow opening gives way to a raunchy and engaging finale. Fellow Australian Alan Holley contributes a set of six ruminative, unaccompanied pieces. The recording is first-class and Greg Keane’s notes are stylish and informative. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in