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'Pinnock delivers a demonstration-quality set including Mahler's Lieder eines fahrenden Gesellen and a gorgeous Siegfried Idyll.'
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BBC Music Magazine
4 Stars
'Busoni's unsettling Berceuse elegiaque creates recessions of instrumental mist, beautifully poised in Trevor Pinnock's direction of the excellent RAM Soloists Ensemble, and nicely captured in this warm, close, yet clear recording.'
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Stuttgarter Zeitung
"Technisch brillant realisieren die Musiker die stilistisch so unterschiedlichen Werke. Im Mahler-Zyklus changiertder Klang zwischen anklagender Schärfe, Melancholie und Weltschmerz. Der junge Bariton Gareth Brynmor John fügt sich mitseiner hellen Klangfarbe perfekt in diese Atmosphäre ein.."
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BBC Radio 3 ‘CD Review’
'These fine young musicians show no frailty in the Busoni, Wagner's Siegfried Idyll or the chamber version of the songs by Zemlinsky and Shoenberg's own arrangements of Mahler's Wayfarer...'
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« La mezzo Katie Bray fait merveille dans Zemlinsky avec son timbre large et ses aigus moelleux. Son interprétation délicate sert fort bien la poésie de Maeterlinck (dans une traduction allemande), toute en évocation. »
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WDR 3 Musik TonArt
,,Wenn ein Dirigent wie Trevor Pinnock mit seinen Erfahrungen aus der Alten Musik auf so wunderbar uneitle Weise sich dem spätromantischen Repertoire nähert, ist das ein Gewinn. Vieles wirkt graziler, weniger fett und dadurch unmittelbarer.''
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'Katie Bray's mezzo is richly spiced and colourful in potent performances of the Zemlinsky, and Austin's new arrangements manage to capture the best of both worlds, encompassing the quasi-symphonic and the beautifully intimate.'
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MusicWeb International
'The excellent Royal Academy Soloists give a good and sensitive performance which rounds off an enterprising disc.'
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4½ Stars
'The performances of baritone Gareth Brynmor John in the Mahler and mezzo-soprano Katie Bray in the Zemlinsky are especially warm and intimate in this setting...these performances are so ingratiating, this hybrid SACD is recommended for all listeners.'
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,,Bei soviel Sorgfalt verwundert es, dass Pinnock dafür eine so vibratoreiche Stimme wie die der jungen britischen Mezzosopranistin Katie Bray zuließ. Sie ist zwar, was Färbung und Expressivität angeht...''
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,,Trevor Pinnock und sein 18-köpfiges Ensemble überzeugen durch höchste spielerische Präzision und bemerkenswerte Expressivität. Diese Kammerfassungen eröffnen einen luftigen, transparenten Blick auf eine Fülle verborgener Details.''
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Classical CD Review
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Royal Academy of Music Soloists Ensemble & Trevor Pinnock - Mahler: Lieder eines fahrenden Gesellen -

15 June 2015
4½ Stars

Performance: 4.5 stars

Sonics: 5 stars

In a number of respects this is the most interesting (and certainly varied) release so far in this series for Linn of recordings from Trevor Pinnock and the Royal Academy of Music Soloists Ensemble. As with the first two volumes Mahler: Symphony No. 4 - Pinnock and Bruckner: Symphony No. 2 (arr. Payne) - Pinnock they explore chamber reductions of works written for larger ensembles in the spirit of Arnold Schoenberg's 'Society for Private Musical Performance' that he founded in 1918 to both create and educate an audience for modern music in post-war Vienna.

Mahler's familiar 'Lieder eines fahrenden Gesellen' is already so transparent in texture in the composer's own orchestral version that Schoenberg's ingenious arrangement does not seem radically different from the original. The four songs are performed by Gareth Brynmor John whose light baritone is well suited to the narrative of the cycle and Pinnock's flowing accompaniment is delivered with much sensitivity by his talented young players. Only at the climax of the third song 'Ich hab' ein glühend Messer' (2.14) did I miss the force of Mahler's full orchestra - a piano being no substitute for a cymbal crash.

Busoni's haunting and deeply moving 'Berceuse élégiaque' - subtitled 'The man's cradle song at his mother's coffin' - was premièred by the New York Philharmonic Orchestra conducted by Mahler in his final concert in New York in 1911. Here it is presented in the arrangement by the Schoenberg disciple and pupil Erwin Stein, its poignancy arguably gaining from the spare lines of Stein's chamber version. 

Stein did make a nine instrument arrangement of just two of Zemlinsky's 'Sechs Gesänge' Op 13, but here we have a new version of all six made by the conductor, teacher and orchestrator Christopher Austin. The 'Sechs Gesänge', based on poems by Maurice Maeterlinck, were composed originally as songs with piano accompaniment (1910-1913) and later orchestrated in 1924. Like many artists of the period Zemlinsky was attracted to Maeterlinck's mysterious poetry and philosophical symbolism and in their glittering orchestral garb the composer's settings represent a striking example of late-romantic voluptuousness. Mindful of this, Christopher Austin has included an accordion and a vibraphone to enrich the palette of his chamber scoring. The vocal soloist is the young mezzo-soprano Katie Bray who, barring some occasional unsteadiness, possesses both the necessary power and beauty of tone to do full justice to these challenging songs.

The final item on the disc is Wagner's popular 'Siegfried Idyll' in its original version for a small chamber orchestra of thirteen players. The work's beauty, charm and intimacy is conveyed in a way that full orchestral accounts can never match, and one could hardly imagine a finer performance than it receives here from the excellent Royal Academy of Music Soloists Ensemble.

Like the previous releases in this series the recording was made in St. George's, Bristol (February 2014). The sound is very clean and detailed, but not lacking in warmth, thanks to the fine acoustic of the venue and the capable engineering of Philip Hobbs. Linn's fulsome liner notes include texts and translations.

Altogether a most enjoyable and fascinating issue.

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Mahler: Lieder eines fahrenden Gesellen (arr. Schoenberg)Mahler: Lieder eines fahrenden Gesellen (arr. Schoenberg)