OSMOSIS
“(the) elegance [of Spohr’s work] is well conveyed in this attractive performance…the grasp of [Onslow’s] idiom and the sympathetic response of the players make this a most enjoyable performance.”
John Warrack, Gramophone, March 2011
“beautiful 'synergy' between the nine instrumentalists ... nice broad sound. Wonderful music for enjoyment, unpretentious.”
Gerard Scheltens, Luister, April 2011
“Vibrant, energetic sounds betray great affinity with the adventurous period in which the possibilities of the rapidly developing wind instruments inspired many composers to unexpected modernism.”
Jolande van der Klis, Tijdschrift Oude Muziek, February 2011
“When I started listening to this performance of the Spohr Nonet,… I was quickly struck by the technical polish and pure intonation of the ensemble Osmosis, and in particular of its wind players … What’s more, the group as a whole (these two works also include one each of violin, viola, cello, and bass) has a remarkably full, well-blended sound. I was soon won over; or perhaps better, the use of “original” instruments became for me a non-issue … it [the recording] is recommendable by any measure. The sound of this CD is as attractive as the performances: live without sacrificing presence. The packaging is the cardboard foldout with bound-in notes that is becoming popular in Europe; the notes, by flutist Clark, are down-to-earth and informative. Enthusiastically recommended.”
Richard A. Kaplan, Fanfare Magazine, April 2011
“The historical instrument ensemble is formidably presented.”
Frits van der Waa, Volkskracht, February 2011
“One can say what they want about old instruments but what is certain is that it is much easier to give a transparent, clear performance on these kind of instruments. The winds are a close group with no balance problems: the horn is not overpowering, and even in her highest register, Kate Clark's wooden flute sounds modest and sweet. This soft tone blends well with that of the clarinet, which expresses itself beautifully in the first part of Onslow nonet. The completely vibrato-less playing in the strings also contributes in no small degree to the transparency ... There is an undeniable charm in the pure sound of gut strings of the string instruments ... That the musicians of Osmosis enjoy this music is undeniable, and their nineteenth-century instruments provide clear, balanced performances.”
Steven De Waele, Kwadratuur (België), February 2011
“Both works have been given an exceptional presentation here, in terms of the faithfulness to historical practices and the zestful playing that shows how fun this colorful music was meant to be.”
Blair Sanderson, AllMusic, March 2011
"Nice idea of the label Ramee and wind quintet Osmosis: recording the nonets of Spohr and Onslow on historical instruments. The musicians chose instruments between 1790 and 1840 in Dresden, Vienna and Berlin, to restore nuances of their parts which as in the nineteenth century. In fact, one has the feeling of rediscovering these works, thanks to the richness of articulation and the sound palette, where each register has its own colour. The ensemble's success also depends on the cohesion of the whole Osmosis, combined with four members of Nepomuk Fortepiano Quintet. When the instruments are doubled or exchange their melodic motifs, one admires the identity of their phrasing and their intentions, their rhythmic precision and perfect balance of timbres ... [the] pleasure of the musicians is contagious."
Diapason, September 2011
"Exceptional concert with beautiful wind sounds
It was a relief to hear how the music which was played seamlessly fit together ... Osmosis began with Reicha's Quintet opus 88 No.2, a very expressive, lively and virtuosic composition which was played with incredible dedication and pleasure. Not only was the overall sound an excellent experience, the individual instruments were each beautifully executed, amusing runs and sparkling passages."
Gooi en Eemlander, 4 December 2010, Josée Zuiver