Grazyna Bacewicz Piano Works

Top Classical March 21, 2022

Grazyna Bacewicz Piano Works

Jablonski’s Mastery: Bacewicz Piano Works Excellently Interpreted

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.

Bach: Sei Solo

Top Classical March 7, 2022

Bach: Sei Solo

Leonidas Kavakos Captures Bach’s Solitude and Precision in “Bach: Sei Solo”

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.

International Sibelius Violin Competition

Top Classical March 6, 2022

International Sibelius Violin Competition

Being selected is already an achievement!

Top Classical, March 2022
The International Violin Competition, named after the great Finnish patriotic composer Sibelius, was founded in 1965 and is held every five years and takes place in Helsinki. 

Sibelius (Jean Sibelius, 1865-1957), is Finland’s Most Famous Composer and representative of the National School of Music. He graduated from the Helsinki Conservatory of Music and later went to Berlin and Vienna to continue his studies. He has written many works incarnating passionate patriotism and strong national pride, and therefore achieving international recognition.  To commemorate him, Finland established the “Sibelius Association” and held an international music competition. 

The Sibelius Society of Finland launched the contest in 1965 in connection with the 100th anniversary of the birth of Sibelius. An Honorary Committee was created and a large number of distinguished musicians agreed to be members. Among them were Sir John Barbirolli, Herbert von Karajan, Yehudi Menuhin, David Oistrakh, Eugene Ormandy, Igor Stravinsky, and Henryk Szeryng.  

The main repertoire of the contest is “A Minor Concert” by Sibelius, which has a distinctive national style and a new writing structure. Because the performance technique is very challenging and breaks conventions, it is not easy for a performer to impress the audience only with charm. In addition, this event is only held every five years, with few opportunities and fierce competition. The competitors are so strong that, it is generally accepted that anyone who gets good results in this contest has already won the category of outstanding artist. 

Young violinists around the world who have not yet turned 30 are welcomed to demonstrate their musical talents and compete with each other. The number of applicants set a new record in 2015 with 234; and only 45 of them were selected for the competition in Helsinki.

Many of the winners of the Violin Competition have become world-famous star violinists. In the fourth competition of 1980, the former player of the Soviet Union, Mulova, won the first place. And in 1995 the price went to the Finn: Pekka Kuusisto. 

Due to the pandemic situation, the 12th Jean Sibelius International Violin Competition had to be postponed to May 18-29, 2022. “We want to do everything possible to ensure the safety and health of our competitors and their hosts, as well as the many musicians, other employees, supporters and the public involved. We are very grateful to all those who participated in the organization of the contest and to our fans who will do this great competition with us also in 2022″ said Lauri Ratia, president of the Sibelius Society and the Violin Competition Committee. 

Rafał Blechacz

Top Classical March 1, 2022

Rafał Blechacz

A Musical Journey of Unparalleled Excellence

Top Classical, March 2022
In the world of classical piano, there are virtuosos, and then there is Rafał Blechacz—a pianist whose exceptional talent and remarkable journey have made him a true luminary in the realm of music. Born in Nakło nad Notecią, Poland, in 1985, Blechacz’s ascent to becoming one of the world’s most celebrated pianists is a testament to his profound dedication to the piano and his innate musical genius.

Blechacz’s piano journey began at the tender age of five, a testament to his early fascination with the instrument. He honed his skills at the Artur Rubinstein State Primary School of Music in Bydgoszcz under the guidance of Professor Jacek Polański. His prodigious talent and unwavering dedication paved the way for a remarkable musical career.

In 2007, Blechacz completed his piano studies at the Academy of Music in Bydgoszcz, studying under the renowned Professor Katarzyna Popowa-Zydroń. Even during his student years, he demonstrated extraordinary promise, earning accolades and honors in prestigious competitions. These included the 1st Prize and Grand Prix at the 13th Johann Sebastian Bach National Competition in Gorzów Wielkopolski (1996), and the 2nd Prize in the 5th Artur Rubinstein International Competition for Young Pianists in Bydgoszcz (2002). However, it was his victory in the 5th International Piano Competition in Hamamatsu, Japan, in 2003, that catapulted him into the global spotlight.

The defining moment in Blechacz’s career came in 2005 when he clinched the Gold Medal at the 15th International Chopin Piano Competition in Warsaw. This triumph marked the start of a career that would see him perform on the world’s most illustrious stages and with the most eminent orchestras and conductors. His performances at renowned venues like Concertgebouw in Amsterdam, Musikverein in Vienna, Berliner Philharmonie, and La Scala in Milan have left audiences in awe of his virtuosic command of the piano.

One of Blechacz’s most remarkable achievements was winning the Grand Prix, the Gold Medal, and all other possible awards at the Chopin Piano Competition, including distinctions for the best performance of mazurkas, polonaise, concerto, and sonata. This unprecedented achievement firmly established him as the preeminent interpreter of Chopin’s works of his generation. His affinity for Chopin’s music and his ability to convey its depth and emotion have garnered the admiration of music critics and audiences worldwide.

While Chopin remains central to Blechacz’s repertoire, he has continually expanded his horizons by delving into the works of other composers. His repertoire now includes pieces by Bach, Mozart, Beethoven, Liszt, Brahms, Debussy, and Szymanowski. He has showcased his versatility through a series of albums released by Deutsche Grammophon, currently totaling five.

Among his acclaimed recordings, Blechacz’s album featuring Chopin’s Preludes was a resounding success, achieving platinum status in Poland within just two weeks of its release. His recording of Chopin’s Piano Concertos with the legendary Concertgebouw Orchestra and Jerzy Semkow was acclaimed by Gramophone magazine as the best orchestra in the world. His repertoire also includes sonatas of Haydn, Mozart, and Beethoven, which he performed masterfully in another celebrated album.

Blechacz’s interpretation of Debussy and Szymanowski’s works garnered widespread recognition, earning him the prestigious Echo Klassik award in 2012 for the Best Solo Album of the Year. He received further accolades with his recording of Chopin’s seven grand polonaises, which achieved gold record status on its first day of release and won the Preis der Deutschen Schallplattenkritik for the best album in the category of Piano music in 2013.

In recognition of his remarkable achievements, Rafał Blechacz received the Premio Internazionale Accademia Musicale Chigiana award in 2010 and the coveted Gilmore Artist Award in 2014, often referred to as the “Piano Nobel.” This prestigious accolade provides financial support to exceptional artists and serves as a testament to Blechacz’s impact on the world of classical music.

Rafał Blechacz’s contribution to the world of classical piano extends far beyond his remarkable talent. He has been honored with the Cavalier’s Cross of the Order of Polonia Restituta by the President of the Republic of Poland, underscoring his immense cultural significance and influence.

As a pianist, Rafał Blechacz possesses an exceptional blend of technical virtuosity, emotional depth, and profound musicality. His performances transport audiences to the heart of the music, creating a profound and lasting connection. With each note he plays, Blechacz continues to enrich the world of classical music and inspire a new generation of musicians and music lovers alike. His journey is a testament to the enduring power of artistry and the boundless possibilities of the piano.

The American Project

Top Classical February 22, 2022

The American Project

“The American Project” – Yuja Wang’s  Exploration of Jazz and Classical Fusion

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.

Six Evolutions – Bach: Cello Suites

Top Classical February 11, 2022

Six Evolutions – Bach: Cello Suites

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

Chopin by Ivo Pogorelich

Top Classical February 8, 2022

Chopin by Ivo Pogorelich

“Chopin” by Ivo Pogorelich: Daring Provocation and Profound Emotions

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.

Gautier Capuçon

Top Classical February 1, 2022

Gautier Capuçon

A Journey of Musical Brilliance

Top Classical, February 2022
Gautier Capuçon, born in Chambéry in 1981, embarked on his musical odyssey at the tender age of five when he first laid hands on the cello. From these early beginnings, a remarkable tale of dedication, passion, and musical prowess unfolded. Capuçon’s journey through the world of classical music has been a symphony of achievements, earning him a place among the most celebrated cellists of our time.

His educational foundation was meticulously laid at the Conservatoire National Supérieur in Paris under the tutelage of eminent cellists Philippe Muller and Annie Cochet-Zakine. Later, he honed his craft under the guidance of Heinrich Schiff in Vienna, a city steeped in musical tradition. These formative years not only refined his technique but also nurtured his unique musical voice.

Even in his mid-twenties, Capuçon had already amassed a portfolio of accomplishments that most musicians can only dream of. His meteoric rise in the classical music scene was marked by accolades that heralded his exceptional talent. The prestigious ‘New Talent of the Year’ recognition by Victoires de la Musique in 2001 was a testament to his undeniable gift. This was swiftly followed by a Borletti-Buitoni Trust Award in 2004, a recognition that further solidified his place among the elite.

The Echo Klassik awards, bestowed upon him on multiple occasions, mirrored the consistent brilliance that Capuçon brought to his performances. These accolades, born out of his exceptional musicianship, resonated not only with fellow artists but also with audiences worldwide.

Capuçon’s engagements with world-renowned orchestras like the Berlin Philharmonic, London Symphony, Chicago Symphony, and Concertgebouw Orchestra attested to his standing as a sought-after soloist. His performances were not mere recitals; they were captivating narratives woven through his deft fingers and his soulful connection to the music.

Yet, Gautier Capuçon’s artistry transcends the grand stages. He is equally at home as a recitalist and chamber musician, gracing revered halls and esteemed festivals across Europe. His collaborations with fellow luminaries illuminate the depth of his musical empathy and his ability to seamlessly meld his cello into intricate ensembles.

Beyond the accolades and stages, there’s an intimate relationship between Capuçon and his instrument. The 1701 Matteo Goffriller cello that he plays isn’t just a tool; it’s an extension of his expression. The harmonious union between artist and instrument elevates his performances, turning them into profound conversations with the audience.

Gautier Capuçon’s journey, though already illustrious, is far from complete. His dedication to his craft, his relentless pursuit of excellence, and his unwavering passion continue to propel him forward. His legacy is not just in the awards and honors he has garnered, but in the emotions he evokes, the stories he tells, and the moments he etches into the hearts of all who have the privilege of experiencing his music.

Royal College of Music

Top Classical January 29, 2022

Royal College of Music

Top institution for Performing Arts in the UK

Top Classical, January 2022
Located in the heart of London’s South Kensington the Royal College of Music is a world-leading music conservatoire with a prestigious history, contemporary outlook and inspiring location. It was founded in 1883 under the auspices of the Prince of Wales (later Edward VII) and the directorship of Sir George Grove to prepare gifted young musicians for entry into the highest echelons of the music profession. The RCM has trained some of the most important figures in British and international music life, including composers such as Holst, Vaughan Williams, Turnage and Britten; conductors such as Leopold Stokowski, Sir Colin Davis and Sir Roger Norrington; singers such as Dame Joan Sutherland, Sir Thomas Allen and Alfie Boe; instrumentalists such as Sir James Galway, John Lill, Gervase de Peyer, and Natalie Clein. 

The college was founded in 1883 to replace the short-lived and unsuccessful National Training School for Music (NTSM). Since its creation the college has been linked with the British royal family. Its patron is currently Queen Elizabeth II. For 40 years Queen Elizabeth the Queen Mother was president; in 1993 the Prince of Wales became president. 

The college is situated in South Kensington, the home of science, arts and inspiration, directly opposite the Royal Albert Hall on Prince Consort Road, next to Imperial College and among the museums and cultural centres of Albertopolis.  

With 840 students from more than 55 countries studying at undergraduate, masters or doctoral level, the RCM is a community of talented and open-minded musicians. RCM professors are musicians with worldwide reputations, accustomed to working with the most talented students of each generation to unlock their artistic potential. 

RCM professors are leaders in their fields and further enhancing the inspiring offer to students, each year the RCM is proud to welcome renowned musicians such as of Lang Lang, Dame Kiri Te Kanawa and Bernard Haitink and many others. The RCM’s many performing groups –including five orchestras, two jazz bands and the RCM International Opera School – are celebrated for the vitality and excellence of their performances and are regularly invited to perform at significant venues both in the UK and overseas. 

The Royal College of Music is considered one of the world’s great conservatoires, training gifted musicians from all over the world for international careers as performers, conductors and composers. In fact, the college has been named the top institution for Performing Arts in the United Kingdom in the 2019 QS World University Rankings. RCM was also ranked the top UK conservatoire for music in The Times and Sunday Times Good University Guide 2019 and top music conservatoire for overall student satisfaction in the latest National Student Satisfaction (NSS) Survey according to the Times Higher Education.

Beethoven Symphony n. 7

Top Classical January 13, 2022

Beethoven Symphony n. 7

January, 2022
Seiji Ozawa, the legendary Japanese director, celebrates his 85th birthday with the release of a new live work dedicated to Beethoven on his 250th anniversary. Conducting his beloved Saito Kinen Orchestra, considered one of the 20 best orchestras in the world.   

The maestro’s virtuosity has been recognized by artists and the critics around the world: “Ozawa is perhaps entering a glorious Indian summer of creativity” – Gramophone  

“Animation, dynamism and joy … he is among the luckiest creatures of God who are nourished and sustained by the love of what they do”- John Williams. 

The unyielding energy and dedication from the now-eighty-five-year-old maestro is highly admirable: The rhythmic punch and sharpness in the Leonore Overture are undeniable, although some might argue that it feels a bit restricted tempo-wise. Special mention deserves the series of admirable woodwind solos and Saito Kinen Orchestra’s principal flute, in particular.  

Ozawa’s Seventh Symphony, first movement is marked by a gracious introduction and a neatly balanced main body. In many occasions Scherzos are skipped by the director, while the vigorous finale leads to a cathartic climax. 

The Symphony also rewards us with an exquisite woodwind playing, especially in the middle movements this can be easily spotted on the famous second movement which is masterfully performed and fully lyrical. 

Third movement develops with dance-like fluidity and great majesty. Wagner called this symphony ‘the apotheosis of the dance’, something which Ozawa has in mind. But the meticulosity in the performance sometimes turns against us and makes us loose the breathtaking effect of the piece. 

Some critics point out the lack of intensity of the Adagio, in which, without really languishing, Ozawa makes strings and woods vibrate, in a call to resignation accompanied by tears on the violins. It certainly lacks the intensity and heady scope of other versions.  

Even if it is true that the recording is been done may times before, no one can deny the greatness of this recording full of expertise, colour and exemplary interpretations

– Paul Thomas

Beethoven 7
Seiji Ozawa
Ludwig van Beethoven
1. Overture “Leonore No. 3”, Op. 72b
2. Symphony No. 7 in A Major, Op. 92: I. Poco sostenuto – Vivace
3. Symphony No. 7 in A Major, Op. 92: II. Allegretto
4. Symphony No. 7 in A Major, Op. 92: III. Presto – Assai meno presto
5. Symphony No. 7 in A Major, Op. 92: IV. Allegro con brio