Wolfgang Rihm is one of the world's most eminent and prolific composers. His works for violin and piano encompass almost his entire compositional career from Hekton in 1972 to the solo violin +œber die Linie VII in 2006. Each draws on a wide range of influences from folk-like moments embedded quotations and dazzlingly virtuosic episodes. They reflect the breadth of Rihm's various changing styles which are almost unique in today's music in marrying contemporary technique with emotionally powerful resonances.
By virtue of their diverse styles and extraordinary technical demands, Ravel's solo piano works present a daunting challenge to anyone who would record them as a complete set. From the sublime Pavane pour une infante défunte and the crystalline Sonatine, to the dazzling impressionism of Miroirs and the nightmarish intricacies of Gaspard de la nuit, Ravel's keyboard music reflects all aspects of his spontaneous imagination and his involved artistic development. Few performers have completely mastered this complex body of work and recorded it superbly, but versatile Canadian pianist Louis Lortie is in that select company. His 1988 performances have been esteemed for their consistency, sensitivity, and compelling energy, and this reissue from Chandos is likely to garner even more praise for Lortie. Previously available in two volumes, this double disc is newly remastered, and Lortie sounds better than ever, particularly in such exquisite works as Le tombeau de Couperin and Valses nobles et sentimentales. Lortie's careful shading of subordinate lines and subtle use of dynamics in his coloristic effects invite repeated listening. Best of all, he captures Ravel's dry wit and irony with his mannered shaping of gestures, most effectively in Le tombeau, the Sérénade grotesque, and the Menuet antique.
A must-have for collectors of sublime historical recordings, this re-release of Fournier and Gulda's 1960 recording is equally appropriate for listeners seeking their first recording of Beethoven's works for cello and piano. Fournier's commitment to the exploration of the Beethoven sonatas and variations is clear; he made three complete recordings of the works over the course of his career – the first with Artur Schnabel in 1947, this one with Friedrich Gulda in 1960, and finally with pianist Wilhelm Kempff in 1965.