K i n ga U j s z á s z i d i r e c to r
1 7 t h - C e n t u r y S o n ata s f r o m t h e D ü be n C o l l e c t i o n
1 7 t h - C e n t u r y S o n ata s f r o m t h e D ü be n C o l l e c t i o n
K i n ga U j s z á s z i d i r e c to r Clemens Thieme (1631–1668) Sonata a 5 in B flat * 1 Praeludium 2 Allemand 3 Courant 4 Saraband 5 Chigue
[1:05] [1:35] [1:20] [1:39] [0:54]
Sonata a 5
[5:27]
6
Vincenzo Albrici (1631–1696)
Dietrich
Buxtehude (1637–1707)
13
Sonata a 5 in C
Clemens Thieme Sonata a 8
[7:26]
11
Vincenzo Albrici Sinfonia a 2 violini e basso
[6:06]
Recorded on 28-30 September 2021 in All Hallows’, Gospel Oak Producer/Engineer: Paul Baxter 24-bit digital editing: James Waterhouse 24-bit digital mastering: Paul Baxter
[6:36] [1:40]
Alessandro
10
Sonata a 5
Johann Jacob Löwe von Eisenach Capriccio a 2 clarini, No. 2 (1629–1703) Russell Gilmour, William Russell trumpets 15
Sonata in A minor, BuxWV 272 Kinga Ujszászi violin, Kinga Gáborjáni viola da gamba
9
D Prentzl (fl. later 17th century)
[6:30]
Lamento ‘Herzlich thut mich verlangen’ * [7:48]
[4:45] [0:57] [2:47]
12
Johann Wilhelm Furchheim (c.1635–1682)
Kinga Ujszászi violin
16 Johannes Caspar Ferdinand Fischer (c.1665–1745)
[Allegro] Adagio [Passacaglia]
14
Sonata a 4 *
for two trumpets, two violins and basso continuo
7 8
Andreas Kirchhoff (d. 1696)
Kinga Ujszászi, Henry Tong violins
Sonata a 2 instromenti con basso
17 18 19 20 21
for two trumpets, two violins in scordatura, and basso continuo
Adagio – Allegro [Andante] Canzona Grave [Allegro]
Total playing time [5:34]
Russell Gilmour trumpet, Inga Klaucke dulcian
Design: Drew Padrutt Booklet editor: Henry Howard Cover photograph: Brigitte Rikers Session photography: foxbrushfilms.com Delphian Records Ltd – Edinburgh – UK www.delphianrecords.com
Melani (c.1639–1703)
@ delphianrecords @ delphianrecords @ delphian_records
* premiere recordings
[2:07] [4:19] [2:02] [1:06] [2:35] [74:30]
Notes on the music The music on this recording is preserved in manuscript in the Düben Collection at Uppsala University Library in Sweden. The name derives from the Düben family, immigrant Germans whose members for three generations were Capellmeisters at the Royal Court in Sweden, from 1640 to 1720. The collection consists of some 35,000 manuscripts and a substantial amount of printed music. It was bequeathed to Uppsala University in 1732 by Anders von Düben, a son of Gustav Düben (1628–90). The collection was rediscovered in the late nineteenth century and some works were subsequently given scholarly attention and edited. Even if some important pioneering attempts were made to come to grips with its contents, it was not until the year 2006 that a complete catalogue became available: The Düben Collection Database Catalogue. In the late 1980s, the present author and Kerala Snyder (Rochester University) came up with a joint plan for a complete catalogue. It was obvious that the new data techniques available would open new vistas for such a large-scale project. From the outset, we decided to involve our students and upcoming musicologists, offering them the chance to participate in a collaborative project that would allow them to work in depth with seventeenth-century manuscripts. This could not be managed within the confines of our regular education
programs; but it was possible during the summer to gather interested students from Sweden, the USA and Germany in order to get them acquainted with the materials; and in due course a more substantial economic foundation was established in order to complete this endeavour. The beginnings were very tentative indeed, since in the 1990s when we started, we found that there was not any ready model for building such a comprehensive database. We wanted to construct a many-sided catalogue, making possible answers to a whole range of questions. For instance, we wanted the ability to search not only for a composer or the title of work but also any reasonable musical and philological parameter. The overall aim was to make it useful to musicians and scholars alike. So for example, a singer should be able to extract compositions to fit their vocal range or tessitura. The same should be possible for any instrumentalist – for example a viola da gamba player, a lutenist, a violinist, and so on; and likewise for any combination of instruments. There are many copyists represented in the music manuscripts which represent a substantial part of the collection. The main hand is Gustav Düben himself whose distinct handwriting is rather easily recognisable. Several copyists are identified by name, but many hands have been identified and catalogued with specific designations. All the
manuscripts and parts by these copyists are similarly searchable in the database. A fundamental distinction can be made between manuscripts written in Sweden and abroad. How foreign manuscripts arrived in Düben´s hands has only been established to some extent, while the dating of manuscripts poses special problems. There may be an explicit date on a part or a wrapper to a set of parts, and yet it is in many cases difficult to establish whether this refers to the composition date or the date the copy was made. Considerable work has been invested in the observation and classifying of watermarks and paper in order to resolve questions of date and provenance. There are also distinctions to be made within a set of parts or duplicate sets of the same composition. Sometimes there are different versions of the same composition indicating an adjustment to the practices and capabilities of the Swedish Court Capelle. Instruments might be deleted or substituted for others, and there are instances when a Swedish text or translation is added below the original: a large proportion of the sacred music is in Latin. Within the database it is possible to search specifically for language, or text sources in the vocal repertory, which are most often biblical, and also for a word within a text. Finally, the Düben Collection Database Catalogue also contains a substantial and up-to-date bibliography, and the background
story of the project is also included. The database was launched on the internet in 2006, with an international conference in Uppsala to celebrate this event. By January 2022 there had been over 280,000 visitors to the database from all over the world, and it is continuously managed and updated by the staff at the Department of Musicology in Uppsala. It took some time before the collection became known to a wider public outside the musicological community, let alone heard in a concert or recorded, though the Early Music movement did open up many hidden musical treasures and made them accessible in a convincing way. The setting up of the Düben Collection Database Catalogue can certainly be seen in this context, as a widening of interest in unknown repertoires. An interesting and important feature of the collection is presented by several large volumes written in German organ tablature. In many instances, they duplicate the parts of pieces of music in the collection thus serving as a sort of back-up, or rather library, of the repertoire. These tablatures may also have been used as a kind of score to enable the leader to have an overview of the music at hand. The earliest tablature in the collection is a stand-alone volume, with its earliest layers dating from 1637, which explicitly served as a study book for the young Gustav Düben,
Notes on the music born in 1628. This volume is unusual within the collection in that it consists of keyboard music. (There are no traces in the collection of works specifically for the organ.) This volume (shelf number imhs 408) is also unique in the collection, since it contains music by both German and English keyboard composers. England is not well represented, nor were English musicians in the ranks of the court capelle or the trumpet corps. It has recently been established in a dissertation by Maria Schildt that besides the huge number of manuscripts in the collection there are also a substantial number of printed items in Uppsala University Library from which many parts were copied for practical use. Her research has also resulted in a much clearer conception of when and how the music was used within the court and the German church in Stockholm. With the one exception mentioned above, the earliest sources in the collection are from the late 1640s and can be associated with a very capable Italian troupe under Vincenzo Albrici employed at the Royal Swedish court during the reign of Queen Christina (1644–54). She also promoted French taste in a broad sense and consequently several French dance musicians from Paris were employed at the court: from their Swedish sojourn, an important volume of dance music is preserved (imhs 409).
At the Swedish royal court, a large Capelle following German models was established during the reign of Gustavus Adolphus in 1620. From 1640 it was led by the organist and composer Andreas Düben. But it was during his son Gustav’s years as Capellmeister (1663–1690) that the main part of the repertory was built up. It represents an astonishing diversity of Italian, German and French, mostly sacred, works, and a substantial number of instrumental pieces. Several compositions are by littleknown composers or are anonymous. Early recognised as the main attraction in the collection are the many uniquely preserved church cantatas by Dietrich Buxtehude, whom Gustav Düben befriended. There are few Swedish-born composers in the overall repertoire, and the court musicians represent a wide variety of nationalities, who often settled with their families in Sweden and became assimilated. During the seventeenth century, however, we find an increasing number of Swedish-born musicians employed at court. Interestingly, many of the pieces of instrumental music in the present recording feature trumpets. Trumpeters were not members of the Capelle but were organised together with kettle-drummers in a large Trumpet Corps at court with important duties in peace and war. The music presented here may be proof of a collaboration between string musicians and trumpeters.
Notes on the music Turning to the composers featured in the recording, Vincenzo Albrici, leader of the Italian troupe at Queen Christina´s court in Sweden 1652–4, embarked on a successful career in Dresden, Leipzig, London and elsewhere. He is represented by 68 compositions in the Düben Collection, including a Sinfonia a 2 violini e basso, while his Sonata a 5, with its triumphant aura, was among the first recorded works from the Düben Collection, as early as the 1960s. Dietrich Buxtehude, one of the most important composers in late seventeenthcentury Europe, was Capellmeister and organist in Lübeck, features in the Düben Collection with over 160 compositions. His Sonata in A minor, BuxWV 272 is a fine example of the northern European variant of the Italian trio sonata, replacing the second violin with a viola da gamba. It is a very well conceived piece with a final, quick ending. Johannes (or Johann) Caspar Ferdinand Fischer was a German composer of several important keyboard collections, nine of whose works are represented in the Düben Collection, including the Lamento ‘Herzlich thut mich verlangen’, a four-part string arrangement of the widely known Protestant chorale. Probably composed around 1700, it demonstrates hints of a more structured and directed harmony. The Sonata a 5 by the Dresden court musician Johann Wilhelm Furchheim, one of six of his works in the
Collection, is a very attractive piece of music. Although labelled ‘Sonata’ it is conceived more as a suite for strings with alternating fast and slow movements, with some nice moments for the bassoon. Most of the remaining composers are featured by only a handful of works or fewer in the Düben Collection. The Danish town musician Andreas Kirchhoff’s Sonata a 4 is striking for its demanding violin part with sequential runs. This is contrasted with a passage with searching, almost elegiac bass movements. The youngest son of a well-known Italian musical family (his brother Domenico was a castrato at Queen Christina’s court in Sweden), Alessandro Melani is represented here by his Sonata a 5 in C, a well workedout piece in four sections for strings and wind instruments. Johan Jacob Löwe von Eisenach was court musician in Wolfenbüttel and Zeitz; his Capriccio a 2 clarini, No. 2, a short work, features a pregnant theme presented as a song-like dialogue between two trumpets. The unknown musician D Prentzl is represented the Düben Collection with only a single composition, his Sonata a 2 instromenti con basso, which is nevertheless a very finely conceived duet between trumpet and dulcian. The two-part structure and the glistering harmonies are wrapped in a formally elegant composition.
Much better known, reflected in his fourteen compositions in the Collection, is Clemens Thieme, active in Copenhagen, Dresden and Zeitz. We hear his Sonata a 8, an interesting piece, where paired violins and trumpets are put in conversation. The sonata is notable for its contrasts in tempo and expression: the middle part is in triple time including a moodsetting repeated bass figure. The concluding part is rather pensive with hints of the opening. The distinction between sonata and suite was not very clear in the mid seventeenth century. In Thieme’s Sonata a 5 in B flat, however, we have an example of a German suite for string ensemble (though in this recording the bass also features bassoon) as it was evolving into its standard form: Praeludium, followed by Allemand–Courant–Saraband, and a final, resilient ‘Chigue’ with its well worked-out imitation technique. © 2022 Erik Kjellberg After some journalistic experiences in radio and teaching, Erik Kjellberg submitted his doctoral dissertation in 1979 on the musicians at the Swedish Royal Court in the seventeenth century. He has published extensively on music history and jazz, most recently on the worldwide legacy of J S Bach and a biography of the Swedish jazz pianist and composer Bengt Hallberg. He has been a professor of musicology at Uppsala University since 1985
and became a member of the Royal Swedish Academy of Music in 1987. Further reading: Erik Kjellberg (ed.), The Dissemination of Music in Seventeeth-Century Europe: Celebrating the Düben Collection (Conference Report), Bern: Peter Lang, 2010 Maria Schildt, ‘Gustav Düben at Work: Musical Repertory and Practice of Swedish Court Musicians, 1663–1690’, doctoral dissertation: Uppsala University, 2014 The Düben Collection Database Catalogue (DCDC) is freely available online at www2.musik.uu.se/duben/ Duben.php
Spiritato gratefully acknowledges the generous support of their many individual sponsors, The Golsoncott Foundation, Angel Early Music and the GEMMA Classical Music Trust. Thanks also to Fr Patrick Henderson and Irena Cholij at Holy Trinity Church, Stroud Green and Fr David Houlding at All Hallows’, Gospel Oak.
Biographies Spiritato is a period-instrument ensemble with a love for little-known composers. Its individual members can be found performing with specialist ensembles throughout the UK and Europe, including The English Concert, Academy of Ancient Music, Orchestra of the Age of Enlightenment, Les Talens Lyriques and the Orchestre Révolutionnaire et Romantique. Producing unique, research-based performance projects and avoiding well-trodden paths wherever possible, Spiritato actively seeks to promote forgotten composers and bring their music to a wider audience. Following their 2021 debut release for Delphian Records (The Taste of this Nation, DCD34236, featuring music by Pepusch, Corbett and Shuttleworth), the group recently launched Inspiring Bach. Using natural trumpets and equal tension strings together with vocalists The Marian Consort, this development of their 2016 Guts and Glory project brings a fresh approach to music by Pachelbel, Buxtehude, Knüpfer and J C Bach.
Spiritato Ferenc Liszt Music Academy in Budapest. Her interest in historical performance was sparked during her studies at London’s Royal Academy of Music. Now playing with some of the best period ensembles across Europe, she is enjoying a busy concert life. Kinga has led numerous ensembles, including the Irish Baroque Orchestra and the European Union Baroque Orchestra, and also appeared as a soloist with, amongst others, the Orchestra of the Age of Enlightenment and The English Concert, of which she has been a member since 2017. She has also frequently appears with the Academy of Ancient Music, English Baroque Soloists and the Dunedin Consort. She has been the director of Spiritato since 2010. Receiving high praise from critics, Ujszászi’s début solo album Assassini, Assassinati with her violin–lute duo, Repicco, was awarded 5 Diapasons. The recording features music from turbulent seventeenth-century Italy. With Repicco, she appears regularly in the most prestigious festivals around Europe.
The ensemble has recorded six albums and been broadcast on BBC and European radio, including appearances on RSI (Swiss-Italian Radio) Ridotto dell’Opera, RAI Radio3 (Italy) Primo Movimento and BBC Radio 3’s CD Review and In Tune programmes.
Her newest solo recording series Cabinet of Wonders with harpsichordist Tom Foster aims to expose the lesser-known violin sonatas from the Dresden Hofkappelle’s famous music collection, the Schrank II.
Originally from Hungary, Kinga Ujszászi moved to London after graduating from the
In 2019 she was made an Associate of the Royal Academy of Music.
Violin Kinga Ujszászi (Antonio Gragnani, 1781) Henry Tong (Giovanni Giorgio Taningar, 1702) Viola Joanne Miller (Rowland Ross, 2000 after Andrea Guarneri, 1676) Nichola Blakey (Johann Joseph Stadlmann, 1775) Kate Fawcett (attr. J C Voigt, Markneukirchen, mid 18th c.) Stefanie Heichelheim (Rowland Ross, 2004 after Andrea Guarneri, 1676) Viola da gamba Kinga Gáborjáni (7-string Lu-mi gamba, Wang Zhi Ming, 2016 after Bertrand) Cello Alice Manthorpe Saunders (George Stoppani, 2010) Violone Kate Brooke (copy by Renate Fink, 1995 of G Violone by Maggini)
Bassoon/dulcian Inga Klaucke (bassoon: Laurent Verjat, Troyes, 2011 after Eichentopf; dulcian (465 Hz): Vincenzo Onida, Milan, 2019 after a Berlin model) Theorbo/baroque guitar/archlute Kristiina Watt (theorbo: Bruce Brook, 2020 after Sellas; baroque guitar: Dallas Sutherland, 1998 after J. Voboam; archlute: Martin Haycock, 1987 after Tieffenbrucker) Organ/harpsichord Nicolás Mendoza (chest organ by Klop Orgelbouw, Garderen, 2007, after historical examples incl. the Compenius organ (1610) in Copenhagen; Flemish single-manual harpsichord after Hans Moermans, 1584) Trumpet Russell Gilmour (Francis Tomes, London, 2009 after Johann Leonhart Ehe, Nuremberg, 1746) William Russell (David Staff, Suffolk, 2015 after Johann Leonhart Ehe, Nuremberg, 1746)
This project was made possible by the generous support of Spiritato’s many sponsors, including: Berndt Andersson Maryan Balkwill Michael Berman and Katharine Verney John Birks Barry Creasy Fabian Farkas Harriet Feilding Nalinika Heenan Katie Heller Jonathan Julyan Sylvia and Alistair Kewish Richard Knights The McAllister family Gabriel Mendoza and Maria Luisa Rojas Conny Michael Dr Andrew Pink Janette Ruocco Daniel Shoskes Arne Thielemann Paul Doxey John Valdimir Price Karen Russell Catherine Sellars Lesley Sewart Sarah Smalley and Martin Richards Colin Turner Thank you also to several donors who wish to remain anonymous.
photo credits: foxbrushfilms.com
The Taste of this Nation: Pepusch – Corbett – Shuttleworth Ciara Hendrick mezzo-soprano, Spiritato / Kinga Ujszászi
Handel:TheTriumph ofTime andTruth Sophie Bevan, Mary Bevan, Tim Mead, Ed Lyon, William Berger soloists, Ludus Baroque / Richard Neville-Towle
DCD34236
DCD34135 (2 discs)
This portrait of the rapid arrival and astonishing success of Italian styles and genres in pre-Handelian London is centred, perhaps surprisingly, on an immigrant from Prussia – Johann Christoph Pepusch, who composed for the Italian soprano Margarita de L’Epine (also based in London) what can be regarded as the first English cantatas in the Italian style; mezzo-soprano Ciara Hendrick is on dazzling vocal form in four of them here. Obadiah Shuttleworth’s concerti grossi, meanwhile, are inventive reimaginings of violin sonatas by Corelli, and William Corbett’s infectious Bizarrie Universali show how a composer who had spent extensive time on the Continent could trade on his Italian connections to win favour with audiences in his native land.
PRESTO Recordings of the Year 2014 – Finalist
‘finely shaped, unflamboyant conducting, gracious playing … Sophie Bevan plays Beauty in what is arguably her finest recording to date; the final aria is breathtaking’ — The Guardian, June 2014
‘a release lovers of Baroque byways will surely find rewarding’ — Gramophone, April 2021 Adriatic Voyage: Seventeenth-century music from Venice to Dalmatia The Marian Consort / Rory McCleery; The Illyria Consort / Bojan Čičić
PRESTO Recordings of the Year 2021 – Winner
Ludus Baroque and five stellar soloists bring to life Handel’s rarely heard final oratorio, a remarkable Protestant re-casting of a work written fifty years earlier to a text by the young composer’s Roman patron Cardinal Pamphilj. Compelled by Time and Truth to accept the divine order of change and decay, Beauty ultimately gives way to an assertion of redemption by good works, reflected in the incorporation of choruses Handel had written for the Foundling Hospital. The resulting work, neglected by centuries of scholarship on account of its hybrid origins, here proves an extraordinary feast of riches.
Pyrotechnia: Fire & Fury from 18th-Century Italy Bojan Čičić violin, The Illyria Consort
DCD34260
DCD34249
Two of Delphian’s most admired ensembles join forces for this imaginative programme of sacred and secular music by composers working along the Dalmatian Coast – now largely in Croatia, then mostly the territory of Venice – in the decades around 1600. It was a time in which constant movement of people and trade of goods created linguistic and cultural cross-currents, in contrast to the sharp distinctions encouraged in later centuries by the emergence of modern nation states. Much of this music would have been regarded as Venetian, but the journey points up intriguing differences between the composers and pieces presented, many of them in premiere recordings, while violinist and director Bojan Čičić’s interactions with cornettist Gawain Glenton – and the rich ornamentation contributed by all the musicians here – bring the period back to vivid, unforgettable life.
Contemporary accounts of the violin playing of Antonio Vivaldi, the ‘Red Priest’, show the extent to which he raised the instrument to hitherto unknown extremes of soloistic virtuosity – able, in its spontaneity and sonorous brilliance, to hold its own against an orchestra in fiery and unforgettably dramatic confrontations.
‘A cornucopia of sacred and secular instrumental and vocal music, performed with arresting, period-evocative beauty’ — Gramophone, January 2022
PRESTO Editor’s Choice
Thanks to Vivaldi’s pupils, eager to imitate the master’s wilder imaginings, several of his improvised cadenzas have been preserved. Here, they inspire typically white-hot performances from Bojan Čičić and The Illyria Consort of four violin concertos by Vivaldi, Tartini and Locatelli which all have movements ending in a ‘capriccio’ – a sequence designed to show that the idea of a virtuosic display cadenza, usually associated with the classical concerto of a later period, had already developed during the first half of the eighteenth century. ‘Čičić’s approach – sensitive and fluid, while never less than technically immaculate – shows these unashamedly swaggering pieces in all their ostentatious magnificence’ — Presto Music, October 2021
PRESTO Editor’s Choice
Giovanni Giornovich: ‘London’ Concertos Bojan Čičić violin, The Illyria Consort
Bach: Lute Suites BWV 996–998 Sean Shibe guitar
DCD34219
DCD34233
Giovanni Giornovich was one of the most colourful and popular violin virtuosos of his day. Apparently of Croatian descent, he was seemingly known by a different name in every country he toured (Ivan Jarnović and Giovanni Giornovichi, among some thirty variants), deliberately making the most of his mysterious origins. More mysterious still is why these concertos – full of wit, charm and character, and redolent of the international musical life of Haydn’s London in the 1790s – should have waited so long to be recorded. Modern-day virtuoso Bojan Čičić and his Illyria Consort, fresh from their triumphant revival of the sonatas of Giovanni Stefano Carbonelli on Delphian, are ideal champions to bring this delightful music back to life.
Three years as a Delphian artist have seen Sean Shibe record music from seventeenth-century Scottish lute manuscripts to twenty-first-century works for electric guitar, picking up multiple editor’s choices and award nominations for each release, as well as the Royal Philharmonic Society’s prestigious Young Artist of the Year accolade. Now he turns to the music of J. S. Bach, with three works whose obscure early performance history belies their status as repertoire staples for modern guitarists. The musicological questions that have arisen over what instrument Bach intended for these works – questions encapsulated for Shibe by the phrase ‘pour la luth ò cembal’, which appears in the composer’s hand at the head of the manuscript of the Prelude to BWV 998 – are here answered by the unshakeable assurance of Shibe’s performances.
PRESTO Recordings of the Year 2020 – Winner
‘a glimpse of a lost performing world and its forgotten music … Čičić is a clean and assured soloist’ — Gramophone, May 2019
Recordings of the Year 2017 – Winner
‘masterful, beautiful and convincing in every way’ — The Times, May 2020, *****
Giovanni Stefano Carbonelli (1694–1773): Sonate da Camera Nos 1–6 Bojan Čičić violin, The Illyria Consort
Giovanni Stefano Carbonelli: Sonate da Camera Nos 7–12 Bojan Čičić violin, The Illyria Consort
DCD34194
DCD34214
In certain respects, Giovanni Stefano Carbonelli does not fit the eighteenthcentury mould. For a neo-Corellian, he is unusually fond of complexity, both technical and compositional, and also unusually open to other contemporary influences, such as those of Handel and Vivaldi. But the quality of his music speaks for itself – virtuosic and joyously melodic, these six ‘chamber sonatas’ had a huge impact on release. Carbonelli’s difficulty has ensured that his work is seldom played, but early-music rising star Bojan Čičić makes sure we have no sense of that as he and his Illyria Consort colleagues champion these groundbreaking compositions with exuberant confidence.
With their debut recording on Delphian, Bojan Čičić and his Illyria Consort propelled the name of Carbonelli from obscurity into the classical charts, recapturing the excitement which the violinist-composer stirred up in eighteenth-century London. Now they bring to Carbonelli’s other six surviving sonatas the same intelligence, sensitivity and sheer, exhilarating virtuosic brilliance with which they proved him to be so much more than just a ‘follower of Corelli’ or ‘contemporary of Vivaldi’. For good measure they add in a fine concerto by the latter that bears Carbonelli’s name, demonstrating the respect in which he was held in his native Italy before setting off to find his fame and fortune in England.
‘superb and passionate … Čičić’s sound – sweet, slightly dry and exquisitely centred – is ideal for the taut beauty of Carbonelli’s solo lines’ — BBC Music Magazine, September 2017, CHAMBER CHOICE
PRESTO Editor’s Choice
‘crisp and buoyant, with the engineering giving a bright, ear-grabbing immediacy to the sound … Čičić is as much a joy as last time for his superlative virtuoso technique and energetic poetry’ — Gramophone, September 2019
DCD34276