June 2022
A Gathering of Friends is a truly remarkable album that celebrates the 40-year friendship and collaboration between composer John Williams and cellist Yo-Yo Ma. Released by Sony Classical on May 20, 2022, this album showcases the profound bond between these two musical giants and features new recordings of two acclaimed concert works written by Williams for Ma, along with selections from Williams’ iconic film scores for Schindler’s List, Lincoln, and Munich. Conducted by Williams himself, the album also boasts special appearances by Spanish guitarist Pablo Sáinz-Villegas and harpist Jessica Zhou, adding depth and beauty to an already extraordinary collection of music.

From the opening notes of the first track, the hauntingly beautiful “Tema de La Lista de Schindler,” one is instantly transported into the emotional world of Williams’ iconic film scores. Yo-Yo Ma’s cello weaves a tapestry of raw emotions, expertly capturing the pain, hope, and resilience depicted in Spielberg’s masterpiece. It’s as if Ma’s bow and strings have the power to convey the deepest of human emotions, and Williams’ delicate orchestration elevates the experience to an otherworldly level.

The centerpiece of the album is the breathtakingly revised version of the “Concierto para violonchelo.” Composed originally for Yo-Yo Ma in 1994, Williams has reimagined the concerto over the years, and this new incarnation is an absolute revelation. The four movements flow seamlessly, each bearing its unique charm, taking the listener on a journey through a myriad of emotions. Under Williams’ masterful direction, the Philharmonica de Nueva York enhances the cello’s melodies with an exceptional display of musical synergy.

Adding to the already profound experience are the new arrangements created by Williams for Ma’s cello. “With Malice Toward None” from the film “Lincoln” resonates with a sense of hope and humanity, while the touching “Prayer for Peace” from “Munich” evokes a deep sense of contemplation and introspection. Ma’s artistry shines brilliantly, capturing the essence of each piece with astounding grace and sensitivity.

The album takes an intriguing turn with “Highwood’s Ghost,” a composition written by Williams to honor the legendary Leonard Bernstein during the Tanglewood Music Festival. The ghostly melodies swirl, echoing tales of the past, as Ma’s cello and Jessica Zhou’s haunting harp lead us on a mystical journey through the ethereal realm of music. The New York Philharmonic’s performance adds layers of depth and richness, making it a truly unforgettable experience.

” A Gathering of Friends” is an album that defies categorization. It seamlessly blends classical and cinematic elements, transcending boundaries and captivating the hearts of listeners from all walks of life. The synergy between Williams and Ma is evident in every note, as if their souls were entwined in a dance of music and friendship. This album reflects the power of artistic collaboration and a celebration of the profound impact that music can have on our lives.

John Williams and Yo-Yo Ma’s friendship and mutual admiration are palpable in each moment of this album, making it a deeply personal and emotive experience for the listeners. Whether you are a classical aficionado or a film score enthusiast, this album will leave an indelible mark on your heart and soul, resonating with you long after the final note has faded away.

June 2022
The Pavel Haas Quartet and Boris Giltburg present a fearless and captivating rendition of Brahms’ monumental Piano Quintet in F minor. This work, which went through various iterations before settling into its current form, finds new life in the hands of these talented musicians. The performance is characterized by an unyielding commitment to the music, resulting in an overall thrilling experience, though at times, it may border on excessive.

The strength of this recording lies in the quartet’s unwavering sense of involvement and their unreserved emotional investment. The musicians showcase their innate ensemble playing and demonstrate a strong instinct for tempo, leading to a dynamic and energetic performance that leaves little room for respite, except in the beautifully tranquil second movement. The musicians seem to be giving it their all, pushing the boundaries and capturing the listeners’ attention from start to finish.

However, the all-giving approach has its drawbacks, particularly in the first movement, where the intensity occasionally veers towards heaviness. Moreover, in the outer movements, the aggressive string sounds tend to dominate for extended periods, potentially overwhelming listeners, especially when using headphones. While this approach may work well in a large concert hall, it can become less suitable for intimate listening environments.

On a more positive note, the recording also features Brahms’ later String Quintet, a gentler and more genial piece. Here, the musicians strike a better balance, maintaining the thrilling qualities while avoiding excessive forcefulness. The ensemble playing remains remarkable, showcasing a deep appreciation and affection for the music.

Sonically, the recording boasts strong and bright sound quality, which complements the ensemble’s energetic approach. However, this may contribute to the slightly in-your-face aspect of the performance, reinforcing the dominance of the aggressive string sounds in certain movements.

In summary, Pavel Haas Quartet and Boris Giltburg deliver an engaging and intense rendition of Brahms’ Piano Quintet, brimming with passion and musicality. Their innate ensemble playing and instinct for tempo shine throughout the recording. However, the heightened intensity might not be for everyone, especially in certain movements where a lighter touch could enhance the overall experience. Nonetheless, the thrilling qualities of the performance, combined with the gentler charm of the String Quintet, make this CD a compelling addition to the Brahms repertoire.

May 2022
Mitsuko Uchida’s long-awaited recording of Beethoven’s Diabelli Variations proves to be a remarkable and enthralling experience. This colossal work, born out of a publisher’s seemingly unremarkable request for a single variation, encapsulates the depth and contradictions of Beethoven’s genius, a challenge that Uchida embraces with exceptional skill.

Uchida’s interpretation of the music is both lighthearted and profound, expertly capturing the piece’s inherent humor while revealing the underlying sincerity and truth in each passage. With a keen sense of the music’s absurdities, she navigates through Beethoven’s deliberate heavy-footedness, playfully raising an eyebrow, and inviting us to glimpse what lies beyond. Her sudden changes of inflection allow us to see through the music, as if she unveils the inner workings of the composer’s mind.

From the very start, Uchida sets the stage for a captivating journey. The theme’s playful bounciness, with subtle emphasis on the downward scales, hints at potential humor ahead. As the variations progress, Uchida masterfully weaves a constant thread that ties them together through various mood shifts, creating a sense of continuity and cohesion.

In Variation 20, Uchida’s skillful touch brings out the strangely modern harmonies, searching for a melody that keeps the listener entranced. Then, a few variations later, Beethoven’s nod to Mozart’s Don Giovanni adds an extra layer of charm to the performance, with Uchida’s clarity and dexterity shining brightly.

Finally, Beethoven concludes the variations with a dance, beautifully presented by Uchida as a delicately wrought yet expansive minuet. This elegant finale serves as the culmination of the captivating journey embarked upon and opens up a whole new vista of emotions and artistic expression.

Mitsuko Uchida’s rendition of Beethoven’s Diabelli Variations is a triumph. Her profound understanding of the piece, combined with her impeccable skill and ability to convey both humor and depth, make this recording a must-listen for classical music enthusiasts. Whether you are familiar with the work or new to it, Uchida’s performance will undoubtedly leave a lasting impression on your musical soul.

May 2022
Jonas Kaufmann, the internationally acclaimed tenor, continues to captivate audiences with his powerful communication and unique baritonal timbre. Sony, his recording label, celebrates their collaboration with Kaufmann in a remarkable new album titled “The Tenor,” a collection of some of the most beloved and accessible classical vocal works for the general public.

The album’s diverse selection encompasses arias from renowned operas such as “Rigoletto,” “Carmen,” “Werther,” “Manon Lescaut,” “Tosca,” and “Turandot,” as well as Neapolitan songs like “Mattinata,” “Torna a Surriento,” “Core ‘ngrato,” and “Non ti scordar di me.” In a nod to Italian pop music, the album also features three of the country’s most famous songs: “Volare,” “Parla più piano,” and “Caruso.”

Since signing with Sony, Jonas Kaufmann has produced an impressive array of records spanning various repertoires, achieving record-breaking sales with each release. “The Tenor” stands as a testament to his versatility, as it seamlessly weaves together operatic arias, Neapolitan classics, and popular Italian songs, leaving no doubt about Kaufmann’s vocal prowess and artistic finesse.

The Italian and French repertoire is showcased with a selection of arias and duets, including iconic pieces like “Nessun dorma,” “Donna non vidi mai,” “La donna è mobile,” “O soave fanciulla” (performed with Kristine Opolais), “La fleur que tu m’avais jetée,” and the spectacular “Pourquoi me réveiller.” The lighter side of the album features timeless Italian songs, such as “Caruso,” “Mattinata,” “Volare,” “Torna a Surriento,” “Non ti scordar di me,” and “Parla più piano” from the movie “The Godfather.” The selection concludes with Johannes Brahms’ beloved “Wiegenlied” (Lullaby).

Jonas Kaufmann’s artistry has earned him praise as “The world’s greatest tenor” (The Telegraph, London), and he regularly graces prestigious opera houses around the globe. His performances have reached millions through cinema and TV broadcasts, making him a global star in the classical music realm. The album also pays homage to his impressive contribution to the Last Night of the Proms in 2015 and the Vienna Philharmonic’s Summer Night Concert in 2020.

“The Tenor” is a feast for music lovers, showcasing the incredible talent of Jonas Kaufmann, who has been described as “a box-office draw and the most important, versatile tenor of his generation” by the New York Times. His brilliance shines through each track, making this album a must-listen for connoisseurs of classical and popular music alike.

April 2022
Martin James Bartlett’s “Rhapsody” is a captivating album that showcases his exceptional talent as a pianist, along with the London Philharmonic Orchestra’s musical prowess. The album revolves around the theme of Rhapsody and explores the works of two great composers, Rachmaninoff and Gershwin, both of whom share intriguing commonalities in their compositions.

The first part of the album features Rachmaninoff’s “Rhapsody on a Theme of Paganini,” a work known for its unforgettable lyricism and structural treatment. Bartlett’s interpretation shines in the A minor section, where his crisp articulation and lively staccatos bring a vibrant vivacity to the music. The interplay between the piano and the orchestra is well-executed, but at times, the bassoon’s importance could have been emphasized more, and Bartlett’s phrases could benefit from added color. Comparisons with other performances, such as Trifonov’s version with the Philadelphia Orchestra, show slight differences in instrumental balance and dynamic gradients, but Bartlett’s rendition still impresses with its lyricism.

The middle sections of the Rhapsody introduce various vibrant personalities, and Bartlett navigates them skillfully. The brass section of the London Philharmonic adds oomph to Variation 14, and Bartlett’s runs in Variation 15 are noteworthy for their mellow tone and playfulness. However, in the iconic D-flat major variation (Var. 18), where sensitivity and a long-term buildup are essential, Bartlett’s interpretation is beautiful but lacks the desired fullness in sound. Other performances, like Abduraimov and the Lucerne Symphony, offer a more organic fluidity to the lines, making them preferred choices for some listeners.

The second part of the album features Gershwin’s “Rhapsody in Blue,” presented in the symphonic scoring by Ferdé Grofe, who premiered it with Toscanini and the NBC Symphony in 1942. Bartlett’s version captures the essence of the piece, but the clarinet solo disappoints due to its quick glissando and a slower tempo, missing the slinky jazz vibe. Benny Goodman’s version on the Toscanini/Wild recording excels in capturing the work’s energy, with a longer-than-usual trill and a perfectly executed glissando. While Bartlett’s performance is smooth and suave, it lacks some of the boisterousness, humor, and fun that make the piece truly enthralling. However, the finale is done justice, with Bartlett and the orchestra delivering a sweeping reprisal of the main theme.

The album includes solo works by Earl Wild, whose connections to both Rachmaninoff and Gershwin are evident. Bartlett’s rendition of Wild’s Etude No. 4 after ‘Embraceable You’ is a high point, displaying his technical prowess and providing a soothing and romantic experience. The melodic continuity, warmth, and vocal quality in Bartlett’s interpretation create a captivating atmosphere, and the passionate and radiant high point showcase his virtuosity.

The liner notes offer concise introductions to the works, focusing on the connection between the composers and the thematic basis of the album. The sound engineering is generally good, though it can feel a little up-close at times. Nevertheless, this allows listeners to catch subtle textural details that enrich the performances.

“Rhapsody” by Martin James Bartlett and the London Philharmonic Orchestra is an enjoyable and well-executed album. Bartlett’s pianistic brilliance and the orchestra’s skillful support make this recording a must-listen for lovers of Rachmaninoff, Gershwin, and virtuosic piano music. While there are minor areas for improvement, the overall solid performances and the choice of compelling works make this album a delightful addition to any classical music collection.