The appeal of this release hinges more on its sound quality than on the quality of its well-known and excellent performances. Unfortunately, it doesn't sound very good. One can more or less hear Richter – details of articulation occasionally get lost, inner voices are sometimes obscured, and bigger sonorities are often opaque – but he sounds like he's miles away. One can hear Sanderling and the USSR Radio & Television Symphony Orchestra only faintly when they're quiet, somewhat better when they're louder, and all too well when they're really loud. There have been better releases of these recordings in the past – many listeners prefer the 1995 BMG-Melodiya issues – and there will likely be better releases in the future. This one's not worth it except for Richter specialists who have to have every release of every performance Richter ever recorded.
"Felix August Bernhard Draeseke was a composer of the "New German School" admiring Liszt and Richard Wagner. He wrote compositions in most forms including eight operas and stage works, four symphonies, and much vocal and chamber music.During his life, and the period shortly following his death, the music of Draeseke was held in high regard, even among his musical opponents. His compositions were performed frequently in Germany by the leading artists of the day, including Hans von Bülow, Arthur Nikisch, Fritz Reiner, and Karl Böhm. However, as von Bülow once remarked to him, he was a "harte Nuß" ("a hard nut to crack") and despite the quality of his works, he would "never be popular among the ordinary"." ~Wikipedia
Maria João Pires “shapes and colours every phrase, and with immaculate taste, and she makes sure the phrases end as eloquently as they begin,” wrote Gramophone in 1974. “She conveys not just the details but the relevance of every note to the whole … Best of all, she communicates everything she has discovered about the music, and it is worth having.” This Portuguese pupil of Wilhelm Kempff, Pires was one of the artists who defined the Erato label in the 1970s and 1980s. This 5-CD box gathers together the recordings she made over the period from 1976 to 1985 and it reflects the consistent focus of her repertoire, with its special emphasis on Austro-German composers of the Classical and early-Romantic periods. Embracing solo works, piano duets and concertos, it contains works by Mozart, Schumann, Beethoven, but also by Bach and Chopin.
The previous two CDs from pianist Michael Rische of the Piano Concertos of Carl Philipp Emanuel Bach have been universally acclaimed for their high degree of musicality and the pianist’s passionate commitment to this composer. And in fact, much of the work of this highly original genius remains to be discovered. The 300th Birthday of Bach's second son offers an ideal occasion to become better acquainted with this extraordinary and surprising composer. In addition to the solo concertos, this CD also presents the Concerto for 2 Pianos and Orchestra Wq 46. In each work, Carl Philipp Emanuel Bach makes the claim - once again – of his unique place in the history of music, and as evident in these vital, life-affirming performances, is one of the truly great “rediscovered” composers of the past.
Freddy Kempf and Andrew Litton with the Bergen Philharmonic Orchestra here join forces to present a disc of works by George Gershwin. Rhapsody in Blue was originally arranged by Ferde Grofé for jazz band before being orchestrated for symphony orchestra. Here Kempf and the Bergen Philharmonic play this original version. Concerto in F was a commission for Gershwin to write a ‘proper’ piano concerto, but still takes the rhythms, melodic structures and bluesy harmonies of popular music.
Paramax Films captured the concert by the Israel Philharmonic Orchestra at its resident venue of Charles Bronfman Auditorium in Tel Aviv in July 2015 conducted by Zubin Mehta and starring Georgian concert pianist Khatia Buniatishvili. The film showcases a performance of the piano’s most famous orchestral repertoire; Beethoven’s Piano Concerto No 1 and Liszt’s virtuosic Piano Concerto No 2 with its waves of sound.
I’ve had this Robert Schumann compilation from Brazilian pianist Guiomar Novaes for a half year now and keep coming back to it, always with the pleasure. Novaes presents balanced interpretations of some famous Schuman compositions; there’s nothing adventurous or idiosyncratic about her approach but they are musical and very winning.
Probably my two favorites performances are of the Papillons waltzes, Schumann’s Op. 2, and the big and beautiful Symphonic Variations. Novaes’ Papillons are charming and light without being lightweight. A heavier composition, the Symphonic Variations elicit an emotional reading from Novaes.
Mitsuko Uchida has been a committed exponent of Schoenberg's Piano Concerto for over a decade now. It is a work which remains controversial in its adaptation of the serial method to an almost Brahmsian harmonic palette, wedded to a formal approach that takes up the integrated design, and textural richness, of Schoenberg's pre-atonal works. Certainly in terms of the balance between soloist and orchestra, this recording clarifies the often capricious interplay to a degree previously unheard on disc (and most likely in the concert hall too).Interpretatively, it combines Pollini's dynamism, without the hectoring touch that creeps into the Adagio's climactic passages, and Brendel's lucidity, avoiding the deadpan feeling that pervades his final Giocoso.
Guiomar Novaes' life story has been the stuff of legend in the classical world for decades and this CD is clear evidence why none other than Claude Debussy himself helped single her out for greatness as a teenage prodigy. Recorded when she was in her 50's, she's absolutely stupendous, pulling off difficult passage after passage with fabulous effortlessness, her trademark. But forget the 'feminine piano' tag that has been given to her at times, this CD shows she can bring on the 'thunder and lightning' whenever necessary. Thanks to Vox Box Legends for this magnificent digitally mastered 2 CD set, the wonderful sound, and very detailed, extensive liner notes that put most other liner notes to shame.