Launching his new recording contract with Decca Classics, critically-acclaimed countertenor Max Emanuel Cencic performs arias from the finest of Hasse’s dramatic works. From the exquisite delicacy of the aria di sostenuto to the fiery passion of the aria di bravura, Cencic’s sensational performance brings Hasse’s greatest works to a new audience, brilliantly fresh and with maximum effect.
Chopin's two piano concertos have long been admired more as pianistic vehicles than as integrated works for piano and orchestra. But in his revelatory new recording, Krystian Zimerman suggests otherwise: The opening orchestral tuttis have so much more light, shade, orchestral color, and detail, you wonder if they've been rewritten. Every gesture, every instrumental solo is so specifically characterized that by the time the piano makes a dramatic entrance, the pieces have become operas without words.
The emotional content, lyricism and direct appeal of Gavin Bryars’s music are unique, reflecting a contemporary composer’s absorption and transformation of several centuries of musical craftsmanship in order to reflect his, and our, own epoch. Originally written for harpsichord, After Handel’s Vesper is a strong illustration of Bryars’s post-minimal interests in early music repertoire. Ramble on Cortona, derived from 13th-century music, makes expressive use of the piano’s resonant qualities, while in the highly-coloured, almost impressionistic The Solway Canal, landscapes pass by as if in a dream.
The old model for creating a hit classical recording – big-name soloist plus big-name conductor in major repertory work – is not so common anymore, but this live Brahms recording from the Staatskapelle Berlin under Venezuela's Gustavo Dudamel, with Argentine-Israeli-Palestinian-Spanish pianist Daniel Barenboim as soloist, shows that there's life in the concept yet. One could point to the virtues of pianist and conductor separately: it's a rare septuagenarian who can combine power and clear articulation of detail the way Barenboim does, and Dudamel builds a vast sweep in, especially, the Piano Concerto No. 1 in D minor, Op. 15. But it's the way that the two work together that really makes news. Chalk it up to shared South American heritage or to whatever the listener wants, but the way the orchestra and piano define separate spheres and work them together is extraordinary. Again, it is in the Piano Concerto No. 1 and its Beethovenian drama that their mutual understanding is most evident, but there is a sense of great variety powerfully unified throughout.
A classic work of its genre and historical period, Artaserse was premièred in Venice in 1730 by the most famous singers of the day: Farinelli in the role of Arbace, Cuzzoni as Mandane and the castrato Nicolino as Artabano. Following its initial success, Hasse produced two different versions of the work, the first in 1740 and the second in 1760. This world première recording is based on the original Venice version. The exceptional cast features countertenor Franco Fagioli in the role originally taken by Farinelli, his stunning technique making light of the 3-octave range with uniform timbre, remarkable power and striking resonance. Equally memorable is the aria “Pallido sole” sung by Sonia Prina.
'Piano Stylings of the Great Standards' is a series of books created for the pianist who longs to play the best-loved and most important songs of the popular genre in very special and elegant musical settings. The arrangements are represented in varying styles, written and influenced by the many great pianists who, over the years, have helped to shape popular piano performance…
This album is unique in Mingus' enormous catalog. As the title indicates, the famous bassist takes to the ivories solo to give life to his dazzling improvisational art. At first it seems odd to hear Mingus without one of his trademark interactive and exploratory ensembles. But the sensibility that he brings to this collection of piano pieces bears all the signs of the composer's genius…