Reviews

“I enjoyed the performances very much, especially the Bruckner and Suk. The sound has a vivid, lifelike immediacy all too rare in studio recordings and the orchestral balance is just right.”
Norman Lebrecht, private correspondence, 7th April 2009

“I agree [that] your recordings are really excellent fidelity and much better than most commercial ones.”
John Sunier, Editor/Publisher, Audiophile Audition, October 2009

“Your CDs [...] are spectacularly good. The sound is the best I have ever heard: so clear, vivid and natural.”
George Schatzkamer, New York, private correspondence, August 2009

“…the presentation is now excellent, with attractive booklets and decent notes. The recorded sound is notable for the unobtrusively natural results that Terry obtained from a set-up that used just two microphone[s …] the quality of the sound is startlingly high … there is some very enterprising repertoire as well.”
Nigel Simeone, International Record Review, June 2012

“Terry’s bold enterprise has had me hooked for hours…”
Rob Cowan, Gramophone, July 2012

“I’m delighted with the purchase. The nexus of my delight is the recording approach. Call me a traditionalist, but the classic two-mic methodology simply yields a more realistic rendering of what a symphonic performance really sounds like from the seats. […] In summary, these are valued additions to my library. I’m glad that I bought them all.”
Bob Walters, Bay Area Audiophile Society, October 2012

“I can certainly attest to how much your recordings have enhanced my life. [… We] don’t manage to attend concerts any more because my wife’s virtually housebound with a wide range of medical problems. Yet I can be transported into a world of beauty and deep joy by simply playing the Rowicki Brahms 4, the Ferencsik Brahms 1, the Smetáček Shostakovich 10 (absolutely incomparable), or any of your other treasures. […] I feel so grateful. And I’m sure I’m by no means the only listener who blesses your name. Many, many thanks, dear Geoffrey.”
Bill Abbie, Edinburgh, private correspondence, 22nd January 2016


CD1/2008 “[Jan Novák’s] music has hints of Martinů, but also has real character of its own, and the work is well played here: I know of no other recording of it, and lovers of Czech music should try to hear it.”

“…the live sound is excellent…”
International Record Review, April 2009

“[Dvořák’s 9th Symphony] Why am I listening to a 43-year-old live performance of a symphony I’ve heard more often than Happy Birthday? Because the Brno Philharmonic in 1966 are a real Czech orchestra, unlike the modern soundalikes, and the conductor Jiří Waldhans is unafraid to let his brass let rip in organic style. This may not be everyone’s glass of Pilsner, but I found it marvellously refreshing.”
Norman Lebrecht, La Scena Musicale Online, 19th August 2009

“Engineer and producer Geoffrey Terry has captured Jiří Waldhans at his most colorfully magnanimous, a real cornucopia of sound.” [Rating ★★★★]
Gary Lemco, Audiophile Audition, 26th October 2009

“These must be the best sounding recordings ever made in this acoustically troubled venue. Everything is bright, clear and rich, and the performances are outstanding. The Dvořák grips from the very opening and has now become my favorite version of the work [...] Highly recommended.”
Don Hansen, San Francisco on the BBC Music Magazine forum, 13th January 2010

“I’ve listened now twice to the Dvorak 9th on my main hi-fi system, and am pleased to count it as my favourite performance – direct, no putting an ‘interpretation’ on the music, just presenting it as is. Thank you for preserving it, and now presenting it.”
Peter Stanger, conductor and pianist, private correspondence, April 2010

“This [Novák] is music of welcome vitality and uninhibited brio.”

“The recording quality is certainly first class and has real clarity and natural balance.”
Jonathan Woolf, MusicWeb International, April 2010

“I played Terry’s recording of the [Novák] work repeatedly when the CD arrived—it’s so full of life, one can’t tire of it.”
Martin Anderson (proprietor, Toccata Classics), Fanfare 33:5, May/June 2010

“The great historical recording of this work [Dvořák] is Talich’s from the early 50s. This is as good a performance, and the sound […] is far superior to the Talich. It has a lightness and clarity that is amazing for its age … [This disc] is worth buying for both the Dvořák and the Novák.”
Carl Bauman, American Record Guide , July/August 2010

“…the Philharmonic Dances are a fine example of [Jan Novák’s] work, very well played here. Novák is still badly underrepresented on CD and I am not aware of any other recording of the Philharmonic Dances, so this is all the more welcome … Again, the live sound is excellent, and this disc is particularly worth seeking out for the Novák.”
Nigel Simeone, International Record Review, June 2012

CD2/2008 “…a sparkling performance of the Third Piano Concerto by Prokofiev … [Peter Katin’s playing] combines agility, poetry and character most impressively, as well as bristling with rhythmic life.”

“…the recorded sound is splendid – natural and full…”
International Record Review, April 2009

“The sound is outstanding and the playing very fine.”
Norman Lebrecht, private correspondence, 10th January 2010

“There’s a surprising richness to the full orchestral blend, Terry’s two-microphone technique triumphing at least in part over the notoriously dry acoustics of the Royal Festival Hall.”

“The pianist is assured, athletic, and technically immaculate … Highly energized and flawlessly performed, this [Prokofiev] is an interesting reading that deserves the enthusiastic applause it receives.”
Barry Brenesal, Fanfare 33:5, May/June 2010

“[Peter Katin is] a splendid exponent, whose legerdemain is matched by an acute structural sense, and whose tonal qualities are laudable. The ensemble between pianist and orchestra is pretty solid. The piano’s treble sonorities against the high winds are a notably successful feature of a recording that in no small degree manages to bring some warmth to the hall’s acoustic.”
Jonathan Woolf, MusicWeb International, May 2010

“This CD has my highest recommendation. Its major work is Prokofiev’s Piano Concerto no 3 in the best performance I have ever heard, and I have 40 recordings of this work.”
Dr David Wright, CD Review 41, 21st July 2011

“[Peter Katin’s] playing is a combination of agility, poetry and elegance, full of rhythmic life and spirit.”
Nigel Simeone, International Record Review, June 2012

CD3/2009 “…this release consists of entirely discography-filling material … The recorded sound is excellent … A warm welcome […] to this disc, which offers considerable rarity value to the violin aficionado.”
Jonathan Woolf, MusicWeb International, August 2009

“The live recordings […] show some of the ‘bel canto’ playing for which Campoli was so well known … The recording is very good indeed though the violin is quite closely miked, giving an intimate feel to the playing.” [Rating ★★★★]
Peter Joelson, Audiophile Audition, 28th September 2009

“…I’ve never heard [Campoli’s] fabled tone (nor perhaps anyone else’s) in such vivid fidelity; a similar lushness characterizes the piano’s tone as well … even if the performance didn’t flow so smoothly as it does, the recorded sound would magnify all the reading’s virtues in ratio in which many recordings diminish them.”

“At moments, Campoli’s sound could freeze a windsock in a hurricane … these live performances sound communicative as well as brilliant … This issue deserves to be a part of most collections … Very strongly recommended.”
Robert Maxham, Fanfare 33:4, March/April 2010

“The beauty of this recording is in the stellar playing, the sincerity of the musicianship, the straightforward sophistication of the interpretations, and the intimacy and high quality of the recorded performances.”
Elaine Fine, American Record Guide , July/August 2010

“…as well as Campoli’s lovely and very individual sound, the intelligence and responsiveness of his playing is captivating, matched by the combination of energy and subtlety in Katin’s Mozart playing – a particular joy here.”

“…it is a great musical treat to hear these two musicians in this work [Brahms], especially their very expansive reading of the slow movement and the discipline and vigour of the finale.”
Nigel Simeone, International Record Review, June 2012

“These are compelling duo recordings … The three popular sonatas come out of the loudspeakers with stunning presence and immediacy. Recommended, and do explore this special small label.”
Peter Grahame Woolf, Musical Pointers, June 2012

“…in an outstanding programme, the great duo of Alfredo Campoli and Peter Katin play [the Mozart and Beethoven] with exquisite taste, refinement and velvety tone…”

“The [‘unforgettable’ Brahms performance] captures the magical intimacy of two great musicians making music together at home, and the results are spellbinding. Strongly recommended.”
The Strad, July 2012

“Remarkably clear recordings enable us to savour the warmth and passion of Campoli’s playing. Katin, too, is admirable, maintaining rock-solid ensemble.”
BBC Music Magazine, December 2012

CD4/2009 “There is potency and vivid pleasure throughout the performance … This [recording] fills a real need and catches [The Czech Trio] on the wing, on tour, and on splendid form. The recording is equally vivid and allows one to hear considerable detail without detracting in any way from the ensemble sureties on show. It goes to show how immediate, and yet sympathetic, good microphone placement can be. This excellent disc earns my warm admiration.”
Jonathan Woolf, MusicWeb International, January 2010

“This performance [of the Dumky Trio] is perhaps the finest that I have heard. It has the proper Czech lilt. The notes reprint some of the reviews of the concert that appeared in the newspapers in the days that followed, and they concur that the Dumky was superbly played.”

“The Beethoven Trio was also well played … Overall, it is one of the finest performances of this work that I know.”

“The Martinů is the encore. It’s too bad that the whole trio wasn’t performed as it, too, is very well played.”
Carl Bauman, American Record Guide , July/August 2010

“[…] artists are often most inspired when playing live, as opposed to the cold loneliness of the recording studio. And I must say I find your recording very good and am very happy to own it now. I will certainly recommend it.”
Jean-Gaspard Páleníček (grandson of the pianist), private correspondence, 14th October 2010

“The Czech Trio […] was a formidable ensemble live: fearless but superbly controlled, committed and stylish. These characteristics come through impressively in the two trios recorded at the Queen Elizabeth Hall in October 1972: Beethoven’s ‘Ghost’ and Dvořák’s ‘Dumky’. The Beethoven is excellent, but the Dvořák is the highlight: a performance of remarkable eloquence and understanding.”
Nigel Simeone, International Record Review, June 2012

“The audience is commendably silent, and the playing remarkably poised and assured…”
The Strad, July 2012

“…the Czech Trio (including legendary pianist Josef Páleníček) are at their most spontaneously joyful in the Ghost Trio and emotionally arresting in the Dumky.”
BBC Music Magazine, August 2012

“[T]his is a recording in sound quality that is startlingly natural yet exciting. The recorded balance is perfect […] and the sound stage is immaculately presented … [A] musical gem worthy of any chamber music collection…”
Amazon review by ‘David’, 5th March 2016

CD5/2009 “…a thoroughly sympathetic reading from Ferencsik … The huge orchestral tuttis impress us with their singing intensity … Tumultuous applause [from] a slightly hysterical mob of Londoners who thought this concert a smashing success.” [Rating ★★★★]
Gary Lemco, Audiophile Audition, 4th November 2009

“…the recorded clarity allows us to hear the wind playing with unchilly brilliance, as well as the Hungarian warmth of the strings … A considerable amount of panache is on display … there is a palpable sense of engagement […] captured with immediacy by the splendidly consistent and clarity-conscious recording set up.”
Jonathan Woolf, MusicWeb International, February 2010

“This is also one of the very few performances I’ve heard that catches the [Kodály’s] humorous edge, rather than just its color … [A] complete live concert more than worth the price of admission was caught in fine sound; and we are the beneficiaries. Definitely recommended.”
Barry Brenesal, Fanfare 33:5, May/June 2010

“While the superbly idiomatic Dances of Galánta are an undoubted highlight here, the Egmont and Brahms C minor Symphony are both readings of genuine stature – strongly projected, fine-grained and captured in some of the best sound of any of the discs here – it’s quite astonishingly lifelike.”
Nigel Simeone, International Record Review, June 2012

CD6/2009 “The performance is excellent and the sound for its day is superb.”
John F. Berky, Editor, Anton Bruckner Symphony Versions Discography, October 2009

“This 1967 Seventh differs from Masur’s other accounts in its greater spontaneity and the exceptionally vivid quality of its recorded sound … if you are seeking to have a memento of Masur’s Bruckner at its most appealing, this CD is the way to go.”
Jeffrey J. Lipscomb, Fanfare 33:5, May/June 2010

“[W]e must give serious consideration to the frisson of this live London performance … There are […] strong reasons interpretatively to prefer this 1967 reading and, with highly sympathetic sound into the bargain, Masur admirers have now found another reason to acquaint themselves with this performance.”

“Once again [Orchestral Concert CDs] shows that a simple yet optimum recorded set-up can deal very nicely indeed with even a problem venue such as this.”
Jonathan Woolf, MusicWeb International, June 2010

“This is a cogent, unmannered reading that makes its considerable impact through unflashy musicianship, a fine sense of Brucknerian symphonic trajectory and a refined ear for inner detail and the colours of the composer’s orchestration. The sound of this live recording is clean and clear – like a very good broadcast from the period. Masur’s conducting of this symphony has remained remarkably consistent and is extremely satisfying … This is a most rewarding disc.”
Nigel Simeone, International Record Review, June 2012

CD7/2009 “Let’s say straight off that it’s a splendid, often thrilling performance. The bright sound of the hall, allied to the excellent recorded set-up by engineer Geoffrey Terry, has ensured that certain moments register as seldom if ever before.”

“This latest entrant takes a worthy and high place in the pantheon of recordings of this masterwork.”
Jonathan Woolf, MusicWeb International, October 2009

“This is an intensely dramatic, detailed Asrael, alive to the sudden changes of emotional character throughout.”

“Terry accomplished a great deal with his two-microphone technique … [N]othing can dilute the power of the performance. Even if it had not been captured half as well, it would still be worth hearing. As it is, we can only be glad the engineering side of matters was in such capable hands … The performance is incandescent…”
Barry Brenesal, Fanfare 33:5, May/June 2010

“The definite highlight of the batch is the live 1968 Waldhans/Brno account of Suk’s very under-rated masterpiece, Asrael. I have now heard the CD four times, and it seems to get better with each listening. Along with the classic first-ever Talich/Czech Philharmonic studio account (mono Supraphon), this is the finest Asrael I have encountered.”

“[…] right now, this CD is a leading contender for one of the five selections on my ‘2010 Want List’ for the November/December issue of Fanfare.”
Jeff Lipscombe, Fanfare, private correspondence

“What is fascinating to me is how one can hear deep into the orchestra at minimal (read: ability to talk with someone else while listening) volume, which effectively replicates my experience when I attend a ‘live’ symphony concert event.”
Gordon Gray, Jackson, WY, private correspondence, 29th May 2010

“[Waldhans] takes an impressively dramatic and serious approach to Asrael that certainly makes this a very tempting alternative…”
Nigel Simeone, International Record Review, June 2012

“[T]his work requires the best possible sound, and that’s exactly what it receives here … this live performance has been captured with an astonishing realism and presence that let the tenderness and ferocity of the music register with a transparent clarity and bone-rattling power.”

“…this performance is something very special indeed.”

“We are indebted to Geoffrey Terry for having preserved what is more than just a great performance of Suk’s masterpiece, but a historic occasion.”
Max Westler, EnjoyTheMusic.com Review Magazine, April 2015

CD8/2009 “The Mozart and Haydn works are […] both for the most part enjoyably stylish with impressively sonorous, unanimous string playing in the former and many fine solo contributions in the latter.”
Boyd Pomeroy, Fanfare 33:5, May/June 2010

“The orchestra is a fine one, but its style, particularly in Bach, reflects older ideals … On the other hand, their style, which brings out a cantilena quality […], reveals dimensions of his harmony and phrasing that period groups regularly overlook.”

“Bosse is a fine soloist in the concerto”

“The sound is good for a concert recording of the period”
Paul Althouse, American Record Guide , July/August 2010

“Bosse is the soloist and director and he’s an accomplished practitioner in both arts.”

“It’s a performance of considerable merit.”

“The recording is very decent, capturing Bosse’s tone with fidelity.”
Jonathan Woolf, MusicWeb International, September 2011

“…a performance of sturdy conviction that is characteristic of Bach playing at the time. There are solid musical virtues here that will appeal to anyone who yearns to relive this kind of approach to Bach.”

“Mozart’s Divertimento in D, K205 is done with poise, as is Haydn’s Symphony, ‘Le Matin’ – perhaps my favourite performance on this disc.”
Nigel Simeone, International Record Review, June 2012

CD9/2009 “On this disc the orchestral sound in the hall is well captured, in good stereo with a lifelike balance and dynamic range…”

“I am glad to have discovered [Saša Večtomov’s] playing, for on this evidence he was a world-class artist … [his] aristocratic playing deserves a hearing, and the disc should certainly be of interest to cellists and collectors of multiple versions of the concerto.”
Boyd Pomeroy, Fanfare 33:5, May/June 2010

“As the concerto develops it’s clear that Večtomov, so august a member of the Czech Trio, was certainly a big enough concerto soloist, but one who does not seek to impose his personality onto the music. Instead he illuminates it from within.”
Jonathan Woolf, MusicWeb International, June 2010

“Večtomov is an excellent cellist … the performances are worth listening to, and of historical importance.”
Carl Bauman, American Record Guide , July/August 2010

“[Večtomov] was one of the finest Czech cellists of his generation but his work as a soloist is not as well known as it deserves to be. That he was a great player is confirmed by the performance of the Cello Concerto here: despite boxy acoustics (a consequence of the concert being given [in] quite a small theatre), this is a memorable account and it is captured in realistic sound. Few of Večtomov’s commercial recordings are available at the moment, making this release particularly valuable.”
Nigel Simeone, International Record Review, June 2012

“The Czech Trio’s cellist Saša Večtomov has a real chance to shine in Dvořák’s B minor Cello Concerto … Večtomov plays with a noble dignity that is at its most poetically eloquent during the sublime Adagio slow movement.”

“…considering the concert was recorded virtually on the hoof in an unaccommodating old town hall it has come up sounding remarkably good.”
The Strad, July 2012

CD10/2010 “[Košler’s] Tod und Verklärung gains in amplitude and expressive depth, Košler reserving the longest of lines for the work’s moving culminatory pages. Earlier he is plangent and the wind playing is notably communicative.”

“This [Dvořák] is a considered but highly personal view of the symphony.”

“The recording has been well realised […] well balanced and well caught by the microphone.”
Jonathan Woolf, MusicWeb International, November 2011

“… transparent textures, rhythms that are always animated as well as clear, an effortless handling of tempo changes and an acute sense of the bucolic character of the music [Dvořák]. Košler’s handling of the contrasting moods and speeds of the first movement is very effective, and the rest of the performance is on a similar level of excellence – the finale is particularly vibrant. The purposeful and direct account of the Strauss is an admirable coupling.”
Nigel Simeone, International Record Review, June 2012

CD11/2010 Note that MusicWeb International reviewed this disc in comparison with a CD of a studio recital, recorded by Peter Katin a few years later and featuring some common repertoire:

“The Croydon recital is much more present acoustically and timbrally too, and Katin’s playing is heard on the wing with great immediacy. I much prefer the Croydon performance for its drama and intensity and also for the recorded sound, which is excellent … [the OCCDs recording] catches his tone with great warmth…”

“On balance the older Croydon performances, where there is overlap, are far superior in terms of recorded sound and also, usually, interpretatively.”
Jonathan Woolf, MusicWeb International, May 2012

“These are deeply impressive performances, notable for the combination of architectural control and expressive poetry that Katin brings to his Chopin, which is most impressive in the B minor Sonata and the sometimes elusive Fourth Scherzo, played here with irresistible relish.”
Nigel Simeone, International Record Review, June 2012

“…Katin offers outstanding delicacy, flair, poetry…” [Performance: ★★★★★]
BBC Music Magazine, August 2012

CD12/2011 “Wanda Wiłkomirska presents herself here as one of the great storytellers on the violin. She plays one of the most important concertos of the 20th Century, and the recording technique is sensational. An unrepeatable constellation.”
Wolfgang Wendel, German Record Critics’ Award (Quarterly Critics’ Choice for Q4 2012 in the Historical Recordings category), 5th November 2012

“Wiłkomirska remains sweet, and focused, of tone throughout … her assurance is perhaps at its zenith in her playing of the Passacaglia, which is powerful, virtuosic, expressively cogent, and where we find she retains virtuosity and tonal vibrance to the very end. This joins the admittedly small discography of the work, and does so on sheer merit.”

“Rowicki directs a compelling, dramatic Tchaikovsky Four … With a sweeping battalion of strings at his disposal, punctuating brass and amazingly vivid percussion definition, courtesy of another of [OCCDs’] top class microphone placements, this is a seismic rendition of the symphony.”

“Hair-shirt production values from this company ensure that terrific concerts such as this have a continuing and richly deserved afterlife.”
Jonathan Woolf, MusicWeb International, December 2011

“Really, your recording is of demonstration quality, with all the clarity one could ask for. The balance between soloists and orchestra, the dynamic range and the stereo separation are excellent. Well done!”
Graham B. Slater, former BBC engineer, private correspondence, 5th February 2012

“[T]his is a breathtaking performance of the Britten […] Musicianship of the highest order from sol[o]ist, conductor, and orchestra IMHO. And a simply stunning live performance exquisitely recorded. Nothing is lost. Quite outstanding, and one of my ‘best buys’ this year.”
Andrew Magnay, UK on the Violinist.com forum, 22nd May 2012

“[…] Wiłkomirska’s radiant performance is typical of her supremely agile, subtly inflected and lyrical playing style, and Rowicki accompanies with his characteristic skill. This disc is well worth acquiring for the Britten alone, but Rowicki’s account of Tchaikovsky’s Fourth Symphony is remarkable too. This is no routine outing for a familiar warhorse but a thrilling performance that seems to relish living dangerously and that bristles with dark, propulsive energy from start to finish. The impact of the playing is helped by the superb sound of the recording – [… this disc is] an extraordinary success from a technical point of view as well.”
Nigel Simeone, International Record Review, June 2012

“Climbing a few rungs up the sonic ladder finds us in the company of the fine Polish violinist Wanda Wiłkomirska with the Warsaw Philharmonic under a favourite conductor of mine, Witold Rowicki, for a brightly lit presentation of Britten’s Violin Concerto.”

“…stereo results […] rival those that the ‘majors’ were achieving with a budget of thousands! This particular concert […] also includes a highly combustible Tchaikovsky Fourth and the thrilling ‘Mazur’ from The Haunted Manor by Moniuszko.”
Rob Cowan, Gramophone, July 2012

“Wanda Wiłkomirska is a distinguished advocate of the Britten Violin Concerto, and was clearly on top form at a Royal Festival Hall performance in 1967, […proving] movingly persuasive in the work’s many lyrical passages.”
The Strad, July 2012

“[The performances] are, in a word, riveting … [Wiłkomirska’s] performance of the very difficult Britten concerto is simply awe-inspiring. I was struck dumb by her increasingly arching upward phrases, at times almost making her violin sound as if she were trying to break into the ionosphere … I was absolutely mesmerized by Wiłkomirska’s performance and I think you will be, too.”

“[T]his is a heck of a great disc and I recommend it highly. It won the 2012 German Record Critics’ prize, and well deserved it.”
Lynn René Bayley, Fanfare, 36:3, January/February 2013

“At the time, [a live performance in Chicago of Tchaikovsky’s Fourth Symphony by the Warsaw Philharmonic under Witold Rowicki in the early 1970s] was the greatest performance of the symphony I’d ever heard. … Well, here it is. … [this] is in every way the same kind of performance I was to hear in Chicago a few years later, and it is every bit as good as I remembered it.”

“Wiłkomirska and Rowicki have the full measure of this complex and tragic work [Britten Violin Concerto], and their performance is as heart-rending and searing as the composer’s own, recorded for London a few years later.”

“What you get […] is an orchestra playing with an intensity rarely encountered in studio performances. Rowicki asks for everything they have, and that’s exactly what they give him. Finally, the sound is very good for a live performance from 1967, spacious and brightly lit … this recording is an important document of a remarkable concert. If you’ve been looking for a Tchaikovsky Fourth that burns at the white heat, here it is.”
Max Westler, EnjoyTheMusic.com Review Magazine, October 2013

CD13/2011 “[…] a sinewy and powerful Leonore no 3, Masur extracting every ounce of tone from his band’s ‘bass up’ German sonority. But smaller details are also well attended to … It’s followed by Haydn’s Symphony no 88 in a robustly rewarding reading.”

“[The Dessau is] an intense distillation of Brecht’s art and achievement, rather than a simple memorial piece as such. [In the Mahler, Annelies Burmeister’s] contralto is finely controlled and richly burnished. She’s in good voice and proves a laudable exponent.”

“The recording quality captures both venues with real fidelity, offering a natural audience perspective shorn of spotlighting. It’s a well balanced disc into the bargain.”
Jonathan Woolf, MusicWeb International, May 2012

“…an enterprising programme … it’s fascinating to hear Dessau’s seldom-heard tribute to his friend Brecht.”
Nigel Simeone, International Record Review, June 2012

CD14/2011 “I’ve heard the [OCCDs Shostakovich] 10th several times, and agree that it’s exceptional; better than any others I’ve heard. (I believe that the first time I bought it on LP was on DG with Karajan, which was exciting, but nothing like yours.)”
Joel Flegler (publisher and editor of Fanfare), private correspondence, 30th December 2009

“The Royal Festival Hall is a notoriously unforgiving acoustic which especially at this time had a problematic, dry clarity. Nevertheless with canny and practised microphone placement this recording captures fidelity without undue spotlighting. It also captures the full complement of strings that the Prague orchestra took with them.”

“This fine performance, extremely well captured in sound, is a most worthwhile addition to the discography of the Tenth.”
Jonathan Woolf, MusicWeb International, March 2012

“Smetáček was a fine conductor and here he shows an outstanding grasp of the long symphonic span of the first movement and a gripping, frenetic kind of urgency when it’s called for elsewhere. The orchestra plays with tremendous clarity and attack (as well as taut discipline) and the result is an account that deserves a very warm recommendation. The sound is particularly clean … this is a remarkable performance.”
Nigel Simeone, International Record Review, June 2012

“Imagine my surprise when, opening the booklet of this CD, I saw a blurb praising the disc from my editor and publisher, Joel Flegler! Flegler’s rave for this disc references the Karajan recording, which just happens to be the performance I own … So I made the inevitable A–B comparisons.”

“[T]he rhythmic elements […]—like the sonorities—are crisper here than in Karajan’s hands … [W]hat is more interesting is the manner in which Smetáček plays the majority of the symphony, so that—thanks to the much greater transparency of texture—it is considerably lighter than Karajan without sacrificing a whit of Karajan’s emotion or energy. The sound quality on this 1968 live performance is […] clear, bright, and fresh…”

“Bottom line: Karajan’s version is now out of my collection and Smetáček’s is now in. This one is truly a gem.”
Lynn René Bayley, Fanfare, 36:2, November/December 2012

“[This is] the most riveting, satisfying and moving performance of this great symphony I’ve ever heard. I’ve played it over and over again in the months since I bought it.”

“Your production and engineering on the Shostakovich strike me as things of wonder, with your superb skills placed completely at the service of the music.”

“Many, many thanks for one of the greatest experiences in almost 50 years of listening to recordings of classical music.”
Bill Abbie, Edinburgh, private correspondence, 30th November 2012

CD15/2016 “Each time I’ve listened I’ve been completely overwhelmed. I’ve always loved Brahms’ symphonies, and am in the middle of one of my periodic phases of re-listening to many of the wonderful recordings which I’ve accumulated over the years. The Rowicki Fourth, though, is very special. It’s so beautifully conducted and played – and your recording enables the listener to hear wonderful performances from individual players within the lovely blend of their joint efforts. Above all, the experience is inexpressibly moving – almost unbearably so, in fact. At the end, I find myself forced to sit quietly for a few minutes, attempting to come to terms with the tragic beauty of this truly great performance and recording of a work which I’ve loved for many years. I want to thank you, Geoffrey, for enabling me to have this treasurable – and, thankfully, repeatable – experience.”
Bill Abbie, Edinburgh, private correspondence, 22nd January 2016

“[S]upremo Geoffrey Terry’s recording set-up in 1967 is fully the equal of the other recordings he has released in this series of live performances. The proof of the pudding lies in the clarity with which he captures orchestral choirs but also in the inherent tonal and timbral warmth that are generated. The hall ambience never swamps the orchestra – microphones have been optimally sited – and yet it remains distinctive.”

“The well-balanced piano ensures that Ekier’s contribution is rightly a concertante one [Szymanowski]. The performance is a mixture of bravura and warmth where the role played by the winds is optimum. Rowicki builds the energy-quotient via the strings with practised grip, the performance marrying splendid control with acutely perceptive phraseology.”

“The booklet has been attractively designed and is a pleasure to peruse…”
Jonathan Woolf, MusicWeb International, February 2016

“Some conductors play the Brahms Fourth for broad lyricism; Rowicki’s taut, austere approach, by contrast, treats each movement as an abstract structure requiring clear exposition. This generates considerable power, especially in the outer movements […] The orchestra responds marvelously…”

“Geoffrey Terry’s remastering of his own original recording […] offers nicely focused bass and vividly realistic reproduction of soloists and instrumental choirs…”

“Recommended as a document of the orchestra and conductor, and specifically for the Szymanowski.”
Stephen Vasta, MusicWeb International, July 2016

“The audience is well behaved. This presumably marks their completely understandable absorption in and appreciation of the performance. This is showcase-fast music-making … You won’t forget this.”

“The booklet […] is well done with an introduction to each piece of music and unusual non-pro-forma profiles of Ekier, Rowicki and the orchestra. Especially interesting, and definitely worth having, is Mr Terry’s detail-rich memoir of the orchestra’s 1967 UK tour. It’s not often you get this sort of flavoursome detail of time and place and it is well done.”

“A Huddersfield concert with no prisoners taken, vintage 1967 […] a fascinating record of a live event, sparks still flying.”
Rob Barnett, MusicWeb International, August 2016