Aronowitz Reviews

Reviews

“Imaginative programming, high-calibre performances, convivial atmosphere. What more could one ask for?”
Evening Standard, April 2011

“The penultimate concert in The Aronowitz Ensemble’s residency at The Forge, Camden, took the listener from the dazzling pop and spit of Salvatore Sciarrino’s Notturni brillanti for solo viola (Lily Francis) to the night-scented arpeggios of Schubert’s Notturno (Tom Poster, Guy Johnston and Magnus Johnston), and on to the fretful stirrings of Bartok’s Fifth String Quartet and Schoenberg’s shame-drugged idyll, Verklärte Nacht. Boccherini’s rowdy Variazioni sulla Ritirata notturna di Madrid offered comic relief, while Poster’s arrangement of Strauss’s Morgen brought all seven players together for a cheesy sunrise. With such an absurd abundance of talent in this ensemble, it’s a bitter shame that the repertoire for six strings and piano is so slender. What price a new commission from Sciarrino, I wonder?”
Independent, March 2011

“[From One to Seven at the Forge is] a series likely to be the hottest of hot chamber music tickets.”
Independent on Sunday, May 2010

“This most rewarding concert left me with the strong feeling that chamber music playing doesn’t come any better than this.”
Oxford Times, May 2010

“A word for the Aronowitz Ensemble, whose Sunday morning Coffee Concert at Wigmore Hall offered spirited, virtuosic accounts of Mendelssohn’s String Quintet No. 2 and Dvorak’s Piano Quintet, and the premiere of the 10-minute To See the Dark Between by the young, Glasgow-born Martin Suckling.”
Sunday Times, May 2010

“The Aronowitz Ensemble, comprising seven young soloists, has attracted an enthusiastic following – not least as part of the BBC’s New Generation Artists scheme – for its recitals at Aldeburgh, the Wigmore Hall and elsewhere. And no wonder: this enterprising CD debut breathes sensitivity and purpose. The programme is a beautiful one, linked by a clearly identifiable national lineage… Elgar’s autumnal Piano Quintet makes a fitting climax.”
Financial Times, May 2010

“In Elgar’s Piano Quintet, a late work imbued with nostalgia for pre-First World War certainties, the players find the muscle in its unashamedly Brahmsian writing, but there’s also an apt air of wistfulness in the way they turn the more pensive melodies. It’s an affecting account that deserves wide currency.”
The Strad, May 2010

“On the Sonimage label, newly founded by Paul Segar, the Aronowitz Ensemble… here demonstrates not only the players’ superbly polished ensemble and intensity of performance but their flexibility too. The Elgar Piano Quintet, the most ambitious of his three late chamber works, has rarely sounded so cogent as here… The performance [of Vaughan Williams’ Phantasy Quintet] is immaculate, making one wish the work was far better known… superb playing and finely honed recording.”
Gramophone, March 2010

“This is an auspicious debut both for the label and the septet of performers. There are spacious accounts of Vaughan Williams’ Phantasy Quintet and Elgar’s piano quintet, the smoothness and subtlety of playing surrendering little in emotional intensity.”
Classical Music, February 2010

“There’s virtuosic playing from the young Aronowitz Ensemble on their first disc… The seven-strong ensemble’s repertoire choice, a balance of old and new, proves satisfying… The players’ exuberance keeps English nostalgia at bay and all stays in keen, bright focus.”
Observer, January 2010

“[Fauré’s La Bonne Chanson] is exquisite, as was this performance… [Huw Watkins’ Sad Steps] was written for the Aronowitz Ensemble as “I always like to write for players I know”; they did not let him down. Nostalgic and despairing it may be in parts, Sad Steps was played with such verve and commitment that the overall impression was uplifting rather than melancholic… A most enjoyable concert enriched by musicians performing at the top of their game.”
Classical Source, September 2008

“[Dvorák’s Bagatelles are] a typical piece of 19th-century domestic music, the wheezy sounds of the harmonium supporting gracefully folky melodies on cello and violin, with a bit of “edifying” counterpoint slipped in. It was completely captivating… Finally, all five players joined for a performance of Schumann’s Piano Quintet which caught all the music’s impetuousness.”
Daily Telegraph, June 2008

“The Aronowitz Ensemble, a collective BBC New Generation Artist and comprising promising soloists in their own right, gave a splendid performance. Immediately apparent was the players’ beautiful sound, projecting the melodies and rich harmonies with deceptive ease and a pleasing lack of indulgence.”
Classical Source, October 2007

“The passion which the Aronowitz Ensemble brought to Elgar’s Piano Quintet in A minor equalled their finesse in the [Vaughan Williams and Gurney] song cycles.”
Guardian, July 2007

“The Aronowitz clearly relished all of it – their playing was constantly expressive and raptly beautiful.”
Guardian, June 2007

“The Gallic finesse of the Fauré was enhanced by the ensemble’s warmth of tone, an adept colouring and phrasing, and a temperament that struck an ideal balance between rapture and reason. Above all – and this was something equally apparent in the Strauss and Schoenberg – the Aronowitz works as a true ensemble, listening, responding, moving as one and creating mellifluous, fascinating textures. Its tour is well worth catching.”
Daily Telegraph, April 2006

“I can recall few London debuts as exciting as this… It is difficult to see how these fine players can greatly advance from this bridgehead. Let us hope we have many more chances to hear them attempt to do so.”
The Strad, March 2005