Well, on this her latest recording, Caroline Léonardelli is apt to change my misplaced opinions. The different moods she projects from the instrument in 'Song of Nymphs' by Marjan Mozetich, should be enough to persuade me of her technical abilities and the harp's capabilities, but throughout every piece on this CD, she displays not only her remarkable musicianship, but also the harp's various personalities. The introduction of 'Sicilienne Variée' by Jean-Michel Damase is a great example, the tenderness of 'La Fille Aux Cheveux de Lin' by Claude Debussy and the childish atmosphere of 'Little Shepherd' also by Debussy, also demonstrate the harp's many facets. And there is an abrupt mood shift when the program closes with the CD's title work 'El Dorado' by Marjan Mozetich. A piece of music that takes you on a strange voyage to a distant and mysterious land. Here the Penderecki String Quartet and Joel Quarrington provide the support which sounds like the minimalist rhythm of a steam train taking the harp on a long journey of exploration and strange soundscapes. A work of dark beauty by Mozetich using his minimalist techniques.

The recording here is superb and the sound of the harp is rich and palpable, and detailed from top to bottom. A definite choice as a harp recording with the added bonus that all the works on this fine disc have something to say.

Jean-Yves Duperron

The first piece on the disc 22 Part 1, by David Sanford, who was born in 1964, is built upon a very jazzy piano part, with long stride lines in the left hand, punctuated by jabs from the cello for a while, eventually leading to long sections where both instruments share long, jazz infused lines and bring everything to a punchy meeting of the minds in the end.

This is followed by Samuel Barber's Cello Sonata in C Minor. A very romantic work for a piece written in 1932. This piece demands, right from the very first notes, a high level of focused emotions, running the gamut from fiery passion to tender lyricism, with both instruments sharing the lead along the way, with technical and artistic demands always front and center.

Elliott Carter's Cello Sonata, from 1948, is a complete reversal in terms of style and approach. It is an intellectual work. A difficult work loaded with ever changing counterpoint and full of interesting interplay and cross-talk between the two instruments. It is absolute music which demands high levels of concentration from the players at all times to pull it off.

The final work, Cantos for Slava, by Augusta Read Thomas, was composed in 2008 and written in memory of Mistislav Rostropovich, the greatest russian cellist and all-around musician. It is an atmospheric piece of music, employing many different techniques on the cello, from the plucking of strings à la Jaco Pastorius, to long, gliding textures and shimmers well supported with moody piano lines. A rather haunting piece following the realist Carter work.

Both Matt Haimovitz and Geoffrey Burleson meet the different demands of these pieces head on, and imprint their own personalities to the music, branding it as theirs. From the passion of the Barber to the eccentricities of the Carter, they obviously have this music fused in their minds, and collaborate very well together. They have actually started, in the fall of 2008, touring with these works and playing live, from concert halls to night clubs. Haimovitz has always been a strong supporter of music and believes in bringing it to as many people as possible, in as many ways as possible.

For more detailed info on these dedicated musicians and the fine Oxingale record label, please visit www.oxingale.com

Jean-Yves Duperron

These 11 well crafted songs, some with French and Italian lyrics, are all well laid out in their progression from intro to finish, and some of them play on your emotions and dwell on the mind. The type of song that would fit well in movies like "Lord of the Rings" or big, epic and gothic inspired video games. The electronic wizardry within the mix has a lot to do with the overall effect and mood of the music. For example, moments when the music sounds as if it is being heard on an old radio, or the music seemingly coming from far off, as if in a distant memory from long ago, or the piano sound coming to you from another room, all of these clever effects create and set the mood of this CD. The genre is definitely more Electronica than Classical, but there is one song titled "Trois Gymnopédies" that is based on the famous piece by Erik Satie.

Giselle was raised and trained in Opera and sung major roles around the world, collaborating with well known classical music figures.

What this CD lacks in classical content it makes up for with its clever electronic sound manipulation and moody arrangements. You can read more about Giselle and her awards, operatic roles, appearances etc...and listen to video/audio clips of her music at giselleminns.com

Jean-Yves Duperron

There is simply nothing this pianist cannot do. It wasn't enough that all the works on this disc, from Hofmann, Moszkowski, Poulenc to Casella, to name but a few, are difficult to play, he added a few of his own compositions to the mix that are even more technically demanding than everything else. Take for example his Etude No. 3, based on the famous La Campanella by Liszt, a very demanding piece to begin with. Well, Hamelin just turns up the heat a few degrees more that would bring most other pianists to their knees, and dazzles with mind boggling speed and dexterity, and a slightly warped sense of humour.

This impressive 2001 Hyperion recording is not just flash and fireworks either. There are a few very lyrical and beautiful other miniatures on this well-rounded offering. My favorite one being Hamelin's own transcription of the "Petit Adagio" from Autumn in Glazunov's Seasons. An orchestral work that, by it's orchestral colors, portrays the winds of autumn rustling through the coloured leaves and the approach of the cold and bleak winter season so well that you would doubt a piano version would work the same magic. Well, Hamelin's transcription is so literal and so true to the original's melodic flow, using the range of the keyboard so effectively, it lets you imagine those beautiful fall colours again, and feel that cold wind foretelling the coming of winter. Beautiful! Inspired and Flawless!

Jean-Yves Duperron