Related Reviews
American Record Guide
'The sound on both of these discs is just superb.'
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BBC Music Magazine
4½ Stars
'A fine recording.'
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The Strad
'The quality of the string playing throughout is outstanding: admirably expressive, fearlessly virtuosic and surprisingly full-toned.'
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The playing is fresh and enthusiastic, the recording bright and true..
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Bradford Telegraph and Argus
This ensemble of young musicians represent the cream of talent for the future...
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Northern Echo
5 Stars
The Concerto for Trumpet and Strings is tongue in cheek vitality Sophia Rahman and John Wallace bring off brilliantly.
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The Times
' would be difficult to think of an ensemble better suited to Shostakovich's Chamber Symphony...'
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Inverness Courier
an electrifying and intensely moving performance...
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Christchurch New Zealand
4 Stars
The performances are excellent.
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Yorkshire Post
4 Stars
they here generate apowerful performance of the Chamber Symphony...
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The Observer
delivered with grace and elegance by the ensemble...
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Shostakovich - Scottish Ensemble - The Daily Telegraph

13 May 2000
The Daily Telegraph
Brian Hunt

SHOSTAKOVICH'S "Chamber Symphony" is his Eighth Quartet, arranged for string orchestra (apparently with the composer's full approval) by conductor and viola player Rudolf Barshai. The larger dimensions suit it well.

There is also an extra level of irony in the work's existing in two versions: officially a lament inspired by the bombing of Dresden, the quartet has been more convincingly explained as the composer's musical suicide note. In 1960, having died spiritually by joining the Communist party under duress, he may have intended to end his life.

By refusing to impose emotion, the magnificent Scottish Ensemble show how intense the work is, independent of whatever coded messages it contains. The players use a vast range of sonorities and dynamics, but nothing seems false or forced.

The Piano Concerto, too, is full of detail and deftness. The trumpet obbligato is rattled off with dry wit by John Wallace; Sophie Rahmen, known for her deep velvet playing in late-Romantic music, shows that she can be just as articulate when adopting a more brittle and brilliant style.

The octet pieces are attractive encores; the recording captures the resplendent acoustics of Glasgow's city hall.

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