GUBAIDULINA, S.: Glorious Percussion / In Tempus Praesens (Gluzman, Glorious Percussion, Lucerne Symphony, Nott)
Sofia Gubaidulina, the 80-year old Russian/Tatar composer, is one of the most respected of living composers. She has composed in a variety of genres, but her concertos have gained a wide following and for good reason. As witnessed by the concertos on this CD, they are indeed remarkable and glorious works. - MusicWeb International
HILLBORG, A.: 11 Gates / Dreaming River / King Tide / Exquisite Corpse (Royal Stockholm Philharmonic, Salonen, Oramo, Gilbert)
The present collection showcases Hillborg’s typically multifaceted and wickedly good-natured humour… Dreaming River (1998) is different…its starting point the shawm-like sound of the Chinese oboe, the suona (Hillborg deploys two). The Royal Stockholm Philharmonic Orchestra is on splendid form throughout, led by conductors who have championed these works at home and abroad. BIS’s SACD sound is typically spectacular, making this release very strongly recommended. -© 2012 Gramophone
BRUMEL, A.: Missa pro defunctis / CRECQUILLON, T.: Lamentationes Jeremiae (endBeginning) (New York Polyphony)
The pacing is smooth, deliberate, with just enough air between musical statements and acoustical reverberation in the recording to allow each piece to sit, almost motionless, like clouds of incense caught in rays of sunlight. - MusicalToronto.org
TAKANO, M.: LigAlien (Takano)
Gyorgy Ligeti became a mentor to Japanese composer Mari Takano during her studies in Germany, and it is Ligeti who is also a near-constant presence throughout this program of works composed between 2003 and 2009. The four duos and trios that share the title LigAlien are all in various ways the results of an idea which occurred to Takano in 2002 -- what would it be like to implant 'alien' DNA (i.e. her own) into one of Ligeti's works?
AHO, K.: Chamber Symphonies Nos. 1-3 (Kelly, Tapiola Sinfonietta, Asbury, Kantorow)
Finnish composer Kalevi Aho is famously lavish as an orchestrator, and often invites rare guests such as the heckelphone into his orchestra. But the scores of Aho’s three chamber symphonies are much more economic in scale, of more modest durations and bear eloquent proof of the composer’s aim of exploiting the full the expressive capabilities of a string orchestra.