May 19, 2020 | Recording Reviews
Louis Lortie completes his survey for Chandos of Camille Saint-Saëns’s five Piano Concertos, the composer a virtuoso of the instrument. The E-flat No.3 (1869) opens like a sunrise, the first movement alternating between bravura incident and a blissful second subject,...
May 19, 2020 | Recording Reviews
Krzysztof Penderecki died at the end of March aged eighty-six. In his later years, as well as breaking away from his avant-garde compositional style for something neo-Romantic, he developed a conducting career for his own and other composers’ music. With the LPO he...
May 19, 2020 | Recording Reviews
Sound and Silence – equally important in music – and American composer Morton Feldman (1926-87) exploited both. Typically, in titular terms, For Bunita Marcus (1985) is dedicated to someone in his life, in this case a composition student at Buffalo University. Marcus...
May 16, 2020 | Recording Reviews
Mozart’s first four original Piano Concertos (those that are the first four are adaptations of other composers’ pieces, while the not-included-here No.7 is the Concerto for Three Pianos, K242) are delivered handsomely by Jean-Efflam Bavouzet. He doesn’t hang around in...
May 14, 2020 | Recording Reviews
Robert Schumann’s F-major Piano Trio (Opus 80) opens this Leipzig-centric recording with a burst of energy that takes the listener along with it, and also establishes the Phoenix Piano Trio (Jonathan Stone, violin, Christian Elliott, cello, and Sholto Kynoch) as an...
May 14, 2020 | Recording Reviews
Edvard Grieg’s three Sonatas for Violin and Piano (F-major, Opus 8; G-major, Opus 13; C-minor, Opus 45) offer a range of emotions and moods – intimate to impassioned, soulful to scurrying, dramatic to dancing – the composer also including indigenous (Norwegian)...