“Balsom plays them all with great virtuosity, varied toned and good style. The German Chamber Philharmonic provides spirited, carefully detailed support.” --BBC Music Magazine, October 2008 *****
“…a stunning recital from a poet of this traditionally martial instrument.” --Gramophone Magazine, Awards Issue 2008
“The first movement of the Haydn is a model of concision which Balsom plays gloriously” --Classic FM Magazine, December 2010
“…a stunning recital from a poet of this traditionally martial instrument.” --Gramophone Magazine, Awards Issue 2008
“The first movement of the Haydn is a model of concision which Balsom plays gloriously” --Classic FM Magazine, December 2010
“Haydn and Hummel composed their concertos for Anton Weidinger's newfangled keyed trumpet, whose timbre was appreciably softer than the natural trumpet (contemporaries likened it to an oboe or clarinet). More than any performance, Alison Balsom brings out the mellow, even veiled, colouring of so much of the writing.
Where clarion brilliance is in order she can peal out with the best of them. But what lingers in the memory is the lyrical grace of her phrasing, and her delicacy of shading.
In the entertaining Hummel Concerto, with its palpable Mozart cribs, she mingles tonal subtlety and swagger in the opening movement, spins a refined, beautifully modulated line in the slow movement, and makes the finale's pyrotechnics properly dazzling. The spruce Deutsche Kammerphilharmonie match her all the way in sensitivity and rhythmic verve.
Moving back in time, Balsom savours the bold, bugling fanfares of Torelli's miniature concerto and makes a persuasive case for a pleasant, if hardly distinctive, mid-18th-century concerto by the Czech Johann Baptist Neruda, written for the corno da caccia but forgivably pilfered by trumpeters hard-up for solo concertos. In sum, a stunning recital from a poet of this traditionally martial instrument.” --Gramophone Classical Music Guide, 2010
Where clarion brilliance is in order she can peal out with the best of them. But what lingers in the memory is the lyrical grace of her phrasing, and her delicacy of shading.
In the entertaining Hummel Concerto, with its palpable Mozart cribs, she mingles tonal subtlety and swagger in the opening movement, spins a refined, beautifully modulated line in the slow movement, and makes the finale's pyrotechnics properly dazzling. The spruce Deutsche Kammerphilharmonie match her all the way in sensitivity and rhythmic verve.
Moving back in time, Balsom savours the bold, bugling fanfares of Torelli's miniature concerto and makes a persuasive case for a pleasant, if hardly distinctive, mid-18th-century concerto by the Czech Johann Baptist Neruda, written for the corno da caccia but forgivably pilfered by trumpeters hard-up for solo concertos. In sum, a stunning recital from a poet of this traditionally martial instrument.” --Gramophone Classical Music Guide, 2010
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