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
Own two of the works that helped cement Beethoven’s reputation as a creative genius like none other. Internationally acclaimed pianist Emanuel Ax joins Michael Tilson Thomas and the San Francisco Symphony in a dynamic performance of Beethoven’s robust Piano Concerto No. 3. Then, MTT leads the Grammy-winning SF Symphony Chorus and musicians in a rarely performed work: Beethoven’s Mass in C major.
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.
Despite no doubt dedicated performances, this recording of Khachaturian's Piano Concerto, Sonatina, and Toccata are distinctly disappointing. Part of the responsibility for this is pianist Alberto Portugheis, who plays with plenty of panache but not enough power and nowhere near enough precision. Part of the responsibility is conductor Loris Tjeknavorian, who leads the London Symphony Orchestra in a tepid accompaniment to the Piano Concerto with especially grave ensemble and intonation problems in the slow movement. Part of the responsibility is AVS, which gives Portugheis, Tjeknavorian, and the LSO distant and dismal recorded sound. But most of the responsibility is the incontrovertible fact that William Kapell recorded the Khachaturian Piano Concerto at the height of his powers and, after that awesome achievement, any merely dedicated performance cannot help but sound distinctly disappointing.
Under the direction of the principal conductor and artistic director of the Salzburg Mozart Week, Mark Minkowski, the Musiciens du Louvre perform on two of Mozart’s original instruments. Mozart’s Violin Concerto and his Piano Concerto in A major are played on instruments that were once in the composer’s possession. Thibault Noally plays the Violin Concerto on a violin from the workshop of Pietro Antonio Dalla Costa and “conjures up Romantic brilliance from the well maintained instrument”, then Francesco Corti brings Mozart’s fortepiano to life again, thereby spreading “collective Mozart happiness all round” (Salzburger Nachrichten).