British cellist Steven Isserlis points out that the four composers represented on this disc have a number of things in common – they were born within 30 years of each other, had nationalist tendencies, and all lived at some point in Paris – but the major unifying theme is the fact that Isserlis commissioned all these arrangements of pieces that had originally existed in other formats. The circumstances of the creation of each of the arrangements are fascinating ……Stephen Eddins @ AllMusic
John Holloway and Davitt Moroney have set up a musically rewarding partnership in these brilliantly inventive works, furthermore adding to their programme the two lovely sonatas for violin and continuo long attributed to Bach, and justly so. In both of them they are joined by Susan Sheppard (continuo cello). For these sonatas Moroney has preferred a chamber organ to a harpsichord.
Dimitry Markevitch (1923 - 2002) was a Russian concert cellist, researcher, teacher and musicologist. He studied under Gregor Piatigorsky and founded the Institut de Hautes Etudes Musicales (IHEM) in Switzerland. His brother, Igor Markevitch, was an orchestral conductor.Markevitch rediscovered several important manuscripts, including Westphal and Kellner transcriptions of several Bach Suites, and published his own edition of the Suites, playing all six in recital at Carnegie Hall in New York in 1964. He was one of the first people to champion "authentic" instrumental techniques and played a baroque cello for pieces composed before the 19th century.
Argentinean Alberto Ginastera was among the most successful mid-twentieth century composers in retaining the populist accessibility of his early works while incorporating elements of serialism as his style developed. His later works may not have the hummable melodies or propulsive rhythmic drive of his early period, but they have a comparable dramatic logic and emotional directness, which give them an immediate appeal. His two cello concertos, written in 1968 and 1981, are clearly "modernist" works of his late period, but they are warmly lyrical, intensely dramatic, and orchestrated with intriguing inventiveness. In their slow sections, they are also prime examples of the mysterious, gorgeously evocative atmospherics of which Ginastera was a master throughout his career.
The ultimate blindfold test, this disc contains recorded performances of Beethoven's "Archduke" Piano Trio as well as his Variations on "Ich bin der Schneider Kakadu," but nowhere does it say who the performers are. This is, of course, unacceptable. While it is acceptable to buy a recording of a performance, it is unacceptable not to attribute the performers.