March 2022
Jan Lisiecki’s “Night Music” is a masterful display of his profound talent and interpretative creativity, showcased through an enthralling selection of Mozart, Ravel, Schumann, and Paderewski. Released on Deutsche Grammophon in 2022, this album not only reinforces Lisiecki’s reputation as a virtuoso pianist but also presents a delightful and sonically excellent experience for twilight listening.

The album’s title aptly captures the essence of Lisiecki’s carefully curated repertoire. Rather than opting for traditional Sunday afternoon recitals like Vladimir Horowitz, Lisiecki takes listeners on an enchanting journey through “night music.” The centerpiece of the album is Mozart’s 12 Variations in C Major on “Ah, vous dirai-je Maman,” where Lisiecki’s impressive touch and deep understanding of the classical canon shine through.

The album opens and closes with hidden gems, featuring Paderewski’s lesser-known Miscellanea, Op.16: No.4, Nocturne in B-Flat Major. This bookending effect creates a cohesive and immersive experience, drawing the listener into a realm of relaxation and tranquility.

One remarkable moment that showcases Lisiecki’s exceptional talent is his rendition of Maurice Ravel’s Gaspard de la nuit – Scarbo. In just nine minutes, Lisiecki mesmerizes with dynamic touches in the piano’s lower register and a full exploration of the keyboard, leaving the listener in awe of his pianistic prowess. The depth and maturity he brings to this piece are commendable and make it a highlight of the album.

At the age of 27, Jan Lisiecki continues to amaze listeners with his musical maturity, and “Night Music” is no exception. His ability to play with the theme of night, following his previous two-CD set of Chopin’s Complete Nocturnes, reveals an artist deeply committed to exploring different facets of his craft and bringing ongoing delight to his audience.

The acoustically beautiful and well-executed recording enhances the listening experience, allowing the listener to immerse themselves fully in Lisiecki’s skillful interpretations. Whether it’s the elegance of Mozart, the emotive passages of Schumann, or the nocturnal enchantment of Paderewski, each piece receives the utmost care and attention, leaving no doubt about Lisiecki’s musical dedication.

“Night Music” by Jan Lisiecki is an enthralling album that reaffirms his position as one of the most exciting young talents in the classical music scene. With his impressive touch, interpretative creativity, and deep understanding of the piano repertoire, Lisiecki delivers an idealized and relaxed twilight listening experience. This album is a must-listen for classical enthusiasts and a testament to the boundless potential of this remarkable pianist.

March 2022
Daniel Hope’s “America” is a captivating exploration of American music, where the violinist takes his audience on a journey through an attractive range of vernacular-tinged pieces that showcase the unique essence of American musical heritage. While Hope may question what truly makes music sound American, his performance on this album undeniably carries an authentic spirit that resonates with listeners.

The album opens with a promising start as the Zurich Chamber Orchestra gracefully accompanies Hope’s violin in the arranged pieces. Paul Bateman’s arrangements breathe new life into these compositions, giving them a fresh perspective for the modern audience. However, the rendition of the Gershwin Song Suite falls short of expectations. The integration of the violin with the jazz trio doesn’t quite hit the mark, leaving the listener wishing for a more cohesive blend.

A standout moment on the album is “A Change Is Gonna Come,” where Joy Denalane’s soulful vocals shine through. Her emotive delivery gives the piece a heartfelt depth, despite the slight disconnect between the violin and the jazz accompaniment. One wishes that this pairing had been better balanced, as it has the potential to be a true highlight.

Hope excels when he ventures into pieces that suit the violin logically. Longer sets of tunes by Bernstein and Weill showcase his masterful control over the instrument. The inclusion of Ellington’s “Black, Brown & Beige” is a welcome addition, adding diversity to the program. Perhaps a few more classical selections by Copland could have further enriched the album’s musical landscape.

The album concludes with a heartwarming rendition of “America the Beautiful,” where Hope’s signature style shines through. His emotive and sentimental approach is undeniably appealing, even if some might find it a touch saccharine. Nevertheless, it’s an uplifting and fitting conclusion to this musical journey.

The Zürcher Kammerorchester demonstrates its prowess with supple responses to Hope’s direction, providing excellent support throughout the album. Their collaboration with Hope has undoubtedly matured, creating a cohesive and engaging listening experience.

Overall, “America” is a strong release that will please Daniel Hope’s fans and attract new listeners. While a few moments may lack the desired synergy, the album’s prevailing charm and captivating selection of American music make it a compelling addition to any music lover’s collection. Despite the occasional missteps, Hope’s dedication to exploring and celebrating American musical heritage shines through, making this album a worthy listen.

March 2022
Prepare to be captivated by this splendid disc of piano works by Grazyna Bacewicz, expertly performed by Peter Jablonski. For both piano enthusiasts and admirers of twentieth-century music, this album is a delightful journey into the artistic genius of a highly distinguished composer. While Bacewicz may be more recognized for her solo violin pieces, her talent for creating evocative keyboard sonorities and colors shines through in this collection.

Drawing from the rich Polish musical tradition, Bacewicz follows in the footsteps of great predecessors like Chopin and Szymanowski. However, she successfully infuses her compositions with an energetic and forceful personality that sets her apart. The two piano sonatas presented on this album are remarkable works that showcase her brilliance.

The second sonata, said to be Bacewicz’s favorite piano piece, has been recorded by various artists, including the notable Krystian Zimerman for DG. However, Jablonski’s interpretation fearlessly competes with the best. The sonata consists of three strongly etched movements, with the outer ones exuding energy and power. Jablonski masterfully captures the dynamism of these movements, particularly the exhilarating Toccata, while offering a moment of poignant lyricism in the central Largo. The emotional depth and complexity of the First Sonata, recently published and edited by Jablonski himself, leave a lasting impression on listeners.

The two sets of etudes are equally enchanting, with most pieces exuding vivacity, while a few introspective ones add depth to the collection. These etudes not only present technical challenges for performers but also offer captivating musical ideas. Bacewicz’s expertise in harmony shines through, skillfully blending the spiky and dissonant with the traditionally consonant, keeping the music moving forward with purpose.

Despite not being a “tunesmith” in the conventional sense, Bacewicz’s compositions offer a musical language that engages the listener’s mind and heart. The time and attention devoted to these pieces are rewarded with a rich and fulfilling experience. From start to finish, this first-rate disc demands to be listened to without hesitation.

Peter Jablonski’s excellent interpretations and Ondine’s gorgeous sonics further elevate this recording. Jablonski’s deep understanding of Bacewicz’s music shines through in every note, breathing life into these remarkable compositions. Ondine’s recording quality captures the nuances and subtleties of Jablonski’s performance, making the listening experience even more enjoyable.

This is a must-have album for any lover of classical piano music and admirers of twentieth-century compositions. Grazyna Bacewicz’s remarkable talent and unique voice are beautifully presented through Jablonski’s heartfelt interpretations. This recording is bound to win over many new fans, thanks to its captivating performances and the exceptional audio quality provided by Ondine.

March 2022
Leonidas Kavakos, an exclusive Sony Classical artist, has taken on a monumental task with his latest release, “Bach: Sei Solo,” his first account of Bach’s Sonatas and Partitas for Solo Violin. The title “Sei Solo” not only describes the work itself (“six solos”) but also reminds the performer of the challenge they face—being utterly alone.

Kavakos rises to this challenge with grace and finesse. His performance exhibits a firm grasp of the rhythm, yet he avoids sounding mechanical or metronomic. In the Double of the Courante, he expertly weaves the intricate web of notes into well-formed phrases, showcasing an impressive breadth and integrity of structure. Every line is sharply etched, and Kavakos pays meticulous attention to balancing the voices, resulting in a captivating rendition – as noted by Gramophone Magazine.

While Kavakos’ rendition of the G minor Sonata and B minor Partita may appear less polished and more austere when compared to his earlier 2005 ECM recordings, further listening reveals a keen sense of control and purposeful shaping within the music’s fragile nature. Notably, the G minor and C major Fugues and the D minor Chaconne exhibit multi-leveled soft dynamics and deft transitions, contributing to the interpretation’s assiduous momentum.

In the A minor Sonata’s Andante movement, Kavakos displays microscopic attention to detail, which, for some listeners, might come across as overly meticulous and disjointed when compared to more direct and fluent period performances. This contrast is particularly noticeable in comparison to interpretations by Sergiu Luca or more traditional-minded violinists like James Ehnes, Uto Ughi, Nathan Milstein, and Itzhak Perlman. Nevertheless, Kavakos’ dedication to his vision is evident, and his execution is flawless.

 Kavakos’ performance exudes solitude and precision, bringing forth a unique interpretation steeped in period performance influences. While some listeners might appreciate the microscopic attention to detail, others may prefer more traditional renditions. Nonetheless, Kavakos’ commitment to his artistic vision is unquestionable, making “Bach: Sei Solo” a noteworthy addition to his discography.

February 2022
The American Project” presents pianist Yuja Wang accompanied by the Louisville Orchestra, conducted by Teddy Abrams, in an exploration of a unique blend of jazz and classical music. The CD includes two notable works, Abrams’s Piano Concerto and Michael Tilson Thomas’s “You Come Here Often?,” both of which showcase Wang’s technical prowess and versatility as a musician.

In Teddy Abrams’s Piano Concerto, intended as a companion piece to Gershwin’s “Rhapsody in Blue,” Wang’s performance is undeniably skillful, though it occasionally leaves something to be desired. Throughout the piece, she dazzles with her nimble fingers and command of the instrument, especially in the intricate cadenzas and funky ostinatos. However, while she navigates the contrasting elements of jazz-meets-classical with ease, there are moments where her interpretation feels somewhat restrained, lacking the full emotional depth that the music demands.

The swinging overture and blues riff in the concerto offer glimpses of excitement and energy, but the overall expression seems to fall short in capturing the essence of the music’s potential. It almost feels as though Wang plays it safe, adhering to technical brilliance while missing opportunities to truly immerse herself in the rich tapestry of emotions within the piece.

The collaboration between Yuja Wang and the Louisville Orchestra, under the baton of Teddy Abrams, is solid, but at times, it lacks the spark that could have taken the performance to a higher level. The partnership between Wang and Abrams, both long-time friends and colleagues from their studies at the Curtis Institute of Music, is evident, but it seems that they could have taken more risks and ventured deeper into the jazz-inspired elements to create a more captivating experience.

Michael Tilson Thomas’s “You Come Here Often?” offers a momentary respite on the CD, with its playful and light-hearted character. Wang’s execution of the solo piece is commendable, with her technical finesse and ability to traverse between soft jazz sections and the barnstorming ending. However, the performance falls somewhat short in terms of emotional connection, leaving the listener wanting for more profound engagement.

In conclusion, “The American Project” presents Yuja Wang as a highly skilled and versatile pianist, capable of navigating the complexities of jazz and classical fusion. While her interpretations in the CD are undeniably fine, they may not fully satisfy those seeking a more profound and emotionally immersive experience. The collaboration between Wang and the Louisville Orchestra is solid, but it lacks the daring and adventurous spirit that could have elevated the performances to greater heights.

“The American Project” is worth listening to for those who appreciate technical brilliance and the blending of jazz and classical music. However, for those seeking a truly transformative and emotionally charged interpretation, this CD may not fully meet those expectations.

February 2022
Yo-Yo Ma, the world’s most renowned cellist, has recorded for the last time Bach’s Suites for Cello, masterpieces that have become his inseparable companion in his musical career for six decades. His father, a violinist, taught him Suite no. 1, beat by beat, when he was four years old and that memory is very vivid in him. Yo-Yo Ma aims to achieve the maximum diffusion to the musical works that marked a before and after in his personal and musical career. 

After a long and successful musical career, he has never lost his fascination for suites and is more convinced than ever of its universal appeal. That intimate relationship with the suites evolved in The Bach project, a two-year 36-city international tour. 

Ma invites you to enjoy music without labels. In fact, his interpretation of the Bachian suites, far from the stylistic rigor of the versions made with instruments of that period and the original criteria, is marked by his vehement temperament, with which he gives personality and lights up the dances in each suite.  

Through the years Ma’s tempos have remained very steady, although some critics have pointed out that his Courante of no.2 seems excessively fast and no.5 in can be found drastic in content and performance. He particularly excels in the readings of the Preludes, going from the well-shaped no.1 to the solemn no.2 and the pure brilliance of nos.5 and 6. 

Vigorous sound, energetic contrasts and Dynamics yet elegant and delicate in the pianissimos. The aerial interpretations of the preludes manifest his polished and peaceful expressiveness, and almost bitter in the gigues that close each suite. 

Yo-Yo Ma’s multifaceted career is la living prove of his continuous search for new ways to communicate with the public and his personal desire for artistic growth and renewal. And anybody who listens this new CD will clearly understand and hopefully share his pure love for those brilliant and enchanting suites.  

– David Gutman

SIX EVOLUTIONS – BACH: CELLO SUITES
YO-YO MA

Johan Sebastian Bach
1. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: I. Prélude  
2. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: II. Allemande  
3. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: III. Courante
4. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande 
5. Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: V. Menuets I & II 
6: Unaccompanied Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue  
7. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: I. Prélude  
8. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande  
9. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: III. Courante  
10. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande 
11. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: V. Menuets I & II  
12. Unaccompanied Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue       
13. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: I. Prélude  
14. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: II. Allemande
15. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: III. Courante
16. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande
17. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: V. Bourrées I & II 
18. Unaccompanied Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue
19. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prélude       
20. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande 
21. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante  
22. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande   
23. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrées I & II  
24. Unaccompanied Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue
25. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: I. Prélude  
26. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande 
27. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
28. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande  
29. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: V. Gavottes I & II  
30. Unaccompanied Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
31. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: I. Prélude  
32. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: II. Allemande 
33. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: III. Courante
34. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande
35. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: V. Gavottes I & II  
36. Unaccompanied Cello Suite No. 6 in D Major, BWV 1012: VI. Gigue

February 2022
Ivo Pogorelich’s “Chopin” marks a daring return to the spotlight, presenting a collection of Chopin’s works that challenges conventions and pushes the boundaries of interpretation. As a provocateur of the piano world, Pogorelich is no stranger to controversy, and this album continues that legacy with more concentrated and purposeful fervor.

The opening tracks feature Pogorelich’s signature sustained approach, notably in the Chopin C minor and E major Nocturnes. Unusually protracted, these performances captivate the listener with their intense emotional resonance. The centerpiece of the album, the F minor Fantasy, is a tour de force, clocking in at a staggering 16 minutes longer than the average rendition. Pogorelich’s transformation of the Lento sostenuto section into a profound largo is a masterstroke, evoking a sense of timelessness and profound introspection. However, some might find his restrained accelerations and dry legato phrases to be an acquired taste.

The B minor Sonata showcases Pogorelich’s unorthodox yet fascinating approach. The first movement surprises with extreme metrical leeway and microscopic attention to detail. While some might raise an eyebrow at his gargantuan ritardando before the development section, it serves to illuminate the intricate counterpoint and build a gripping harmonic tension. The Scherzo’s outer sections maintain a nimble and supple quality, but the Trio seems to wander indefinitely, stretching the limits of its expressiveness.

In the Largo, Pogorelich paints an intimate portrait that transforms into a larger-than-life canvas, captivating the listener with its emotional depth. However, the finale falls short, lacking the spark seen in Pogorelich’s earlier video recording from the Racconigi Castle (DG). While undeniably individualistic, this interpretation feels cluttered with excessive voicings and phrasings, diminishing its overall impact.

Unfortunately, technical issues from his first Sony release still linger, with moments of sonic stridency and harshness in the louder passages. These detract from the otherwise mesmerizing performances, leaving some listeners longing for a cleaner and more polished sound.

“Chopin” is a bold and audacious album that showcases the pianist’s willingness to challenge conventions and take risks with his interpretations. While some moments might not resonate with everyone, there is no denying the sheer passion and intensity that Pogorelich brings to these performances. His ability to evoke emotions and draw the listener into Chopin’s world is undeniable, making this album a must-listen for those seeking fresh and unconventional perspectives on the beloved composer’s music.