Positive Feedback

This is yet another highly recommended recording from Eudora Records. Gonzalo Noqué once again works his magic to bring us the sound of a live performance in our listening rooms via this beautiful transparent, highly resolving, Pure DSD256 recording. (…) With the exception of Felix Mendelssohn, each of these composers have existed largely in the shadows of our musical world, only heard of rarely. All four come from Central Europe and lived in the shadow of other composers who influenced their style and whose reputation has sometimes eclipsed their own. Each has been undervalued for various reasons at various times. Yet all have much to offer. (…) The album opens with the deeply contemplative, somewhat dreamy Fantasia in G minor by Fanny Mendelssohn that concludes with a rollicking upbeat finish. It is a work of great expressiveness and tonal richness, creating a delightful opening to the concert…Wonderful to hear it in this recording.

Rushton Paul - Source

Positive Feedback

…This is yet another highly recommended recording from Eudora Records. Gonzalo Noqué once again works his magic to bring us the sound of a live performance in our listening rooms via this beautiful transparent, highly resolving, Pure DSD256 recording.

With the exception of Felix Mendelssohn, each of these composers have existed largely in the shadows of our musical world, only heard of rarely. All four come from Central Europe and lived in the shadow of other composers who influenced their style and whose reputation has sometimes eclipsed their own. Each has been undervalued for various reasons at various times. Yet all have much to offer.

The album opens with the deeply contemplative, somewhat dreamy Fantasia in G minor by Fanny Mendelssohn that concludes with a rollicking upbeat finish. It is a work of great expressiveness and tonal richness, creating a delightful opening to the concert…Wonderful to hear it in this recording.

Rushton Paul - Source

NativeDSD Blog

Two Spanish musicians, whom I did not know before, embarked last year on a mission to bring works of great beauty, for too long hidden in the shadow of great masters, back into the general public’s interest. A laudable initiative. Joining like-minded musicians adamant about neglected composers taking their rightful place in today’s musical landscape. More than once with spectacular results.

For this recording generous support was obtained from the Dutch Henri Moerel Foundation, which aims “to support young people in fulfilling their potential, and in doing so to enable them to carry the hopes of their generation and to enrich the lives of others”. One of these ‘young people’ is the Spanish pianist, Mario Mora. Together with Lorenzo Meseguer, cellist of the Birmingham Symphony, seldomly played and recorded works were selected from the oeuvres of Felix Mendelssohn’s elder sister Fanny, Robert Schumann’s wife Clara, as well as a Sonata from an obscure North-German composer Gustav Jenner.

The cherry on the cake is Eudora Records, one of those small independent quality labels that take pride in delivering the best possible result in terms of sound and musical backing, irrespective of commercial motivation.

Fanny’s Fantasia for cello and piano is indeed a rarity. But Clara’s ‘Drei Romanzen’ is a different matter. Originally composed for Violin and Piano. It has also been arranged or transcribed for other instruments (Clarinet, Oboe), but as such only sparsely available in mixed recitals from different sources. The transcription for Cello and Piano as played here is exclusively ‘theirs’, the two Spanish performers, and therefore nowhere else to be heard nor recorded.

Both works are jewels of the romantic era and are easy to love. Lorenzo, skillfully accompanied by Mario, sets down an affectionate reading in each of them. His lush tone serves these works very well, and I’m sure any audience will agree.

In the final analysis, I’d like to underscore the importance of this release for the advent of hitherto relatively unknown composers. Over the last couple of years, several relevant efforts have given us already much to enjoy and cherish. But there is still some way to go until the ‘shadow’ has been fully explored and re-evaluated. We ought to thank Cellist Lorenzo Meseguer and Pianist Mario Mora and all those having made this release possible for their contribution to the broadening of our classical music heritage.

Adrian Quanjer - Source