March 2021
“Blue Hour” is the name of this new album by Deutsche Grammophone / Universal Music Canada. With this release, the exclusive alliance between the artist and yellow label since 2013 has been renewed.  

In this CD Andreas Ottensamer shows his soloist side giving an outstanding performance at his best musical and interpretive level. He pairs up with her friend and colleague, Yuja Wang, forming an unparalleled duo. This new album collects jewels from the Romantic period of great meaning for Ottensamer; the Intermezzo Op. 118 Nº2 from Brahms, his favorite composer, a Mendelssohn arrangement of “Lieder ohne Worte” . From Carl Maria von Weber the “Gran Duo Concertante” Op.4 and, accompanied by the famous Berlin Philharmonic Orchestra,  in which he performs as the first Clarinet, we’ll find in this recording the Clarinet Concerto No. 1 in F minor Op. 73 recorded live under the baton of Mariss Jansons.  

The selection of works that build up the program, seems a bit shocking for some critics who feel that might not be very fortunate. Pairing a live Weber Clarinet Concerto No. 1, Op. 73, with a studio recording of clarinet-and-piano pieces, mostly transcriptions, by Weber, Mendelssohn, and Brahms, doesn’t go with the taste of everybody. 

The concerto is very well executed by the artist with precise technical polish. The sublime fusion of the solo clarinet with the other winds in the slow movement; leaves us with one of the best version of this movement, and his playing keeps his playing keeps smooth and delicate as well in the following movements. We must point out the marvelous work of Mariss Jansons and the Berlin Philharmonic, who offer an exceptional accompaniment, besides not being much recognized by the media coverage.

We can listen pianist Yuja Wang, here in an unusual second term role, with an immaculate technical interpretation, vivid and joyful and with great musicality, as usual she has no problem keeping up with the level of the other two protagonists.  

The adequacy of the record’s title, Blue Hour has been a cause of debate. Because we are in front of a compilation of dissimilar works by Weber, Brahms and Mendelssohn, the latter two represented by arrangements, the link between the title and the program is not evident. It could just be a melancholic selection, but in any case, no explanation is been given so far.

The tight synchronization between clarinetist and pianist Yuja Wang is remarkable and the highly skilled musicianship is undeniable throughout the disc.  Nobody would doubt of the quality of the performers and their flawless technique. It’s been a controversial release, which definitely deserves to be listened and judged by any music lover.

– David Smith

Blue Hour
Andreas Ottensamer · Yuja Wang

Johannes Brahms
1. 6 piano pieces, Op. 118 (Arr. Popov for piano and clarinet): II. Intermezzo in A Major. Andante teneramente
Carl Maria von Webber
2. Clarinet concerto No. 1 in F Minor, Op. 73: I. Allegro
3. Clarinet concerto No. 1 in F Minor, Op. 73: II. Adagio ma non troppo
4. Clarinet concerto No. 1 in F Minor, Op. 73: III. Rondo
5. Lieder ohne Worte, Op. 85: No. 6 – Allegretto con moto
6. Lieder ohne Worte, Op. 102: No. 1 – Andante un poco agitato
Johannes Brahms
7. Five songs, Op. 105: I. Wie Melodien zieht es mir
8. Lieder ohne Worte, Op. 30: No. 4 – Agitato e con fuoco
9. Lieder ohne Worte, Op. 67: No. 3 -Andante tranquillo
Carl Maria von Webber
10. Grand Duo Concertant: I. Allegro con fuoco
11. Grand Duo Concertant: II. Andante con moto
12. Grand Duo Concertant: III. Rondo. Allegro
13. Lieder ohne Worte, Op. 30: No. 6 – Allegretto tranquillo “Venetianisches Gondellied”
14. Lieder ohne Worte, Op. 67: No. 2 – Allegro leggiero
15. Lieder ohne Worte, Op. 85: No. 4 – Andante sostenuto

March 2021
Nikolai Medtner’s exquisite songs, presented by soprano Sofia Fomina and pianist Alexander Karpeyev, showcase a compelling blend of Eastern and Western influences in a collection that transports listeners through the realms of Russian and German literature. The album offers a thoughtful exploration of Medtner’s artistry, where both instruments merge to create a refined and creative dialogue.

The Op. 36 set, featuring Six Poems by A. Pushkin, serves as a mesmerizing introduction to Medtner’s profound artistry. An exquisite interplay between Fomina’s soprano and Karpeyev’s piano brings to life the harmonic journey of “The Angel,” evoking echoes of Rachmaninoff’s brilliance. This duet embodies the central dichotomy of the poem, seamlessly intertwining vocal and piano lines with a touch of individuality. Fomina’s spirited spontaneity in “The Flower” is beautifully complemented by Karpeyev’s climactic piano, infused with a brief but captivating sense of mysticism.

“Spanish Romance,” built on Pushkin’s terse verses, reveals Medtner’s ability to weave textures that mirror gaiety and dreaminess. Fomina and Karpeyev’s artistry paints a vivid picture of a warm Spanish night, where the soprano’s versatile interpretation captures moments of soothing tranquility and tempestuous passion. The Op. 46 Seven Lieder, inspired by Medtner’s German roots, unveils a more subtle palette. “Hallowed Place” showcases Fomina’s resonant grace, harmonizing beautifully with Karpeyev’s translucent and whimsical piano.

The album’s pinnacle arrives with “Winter Night,” a hauntingly intense performance. Fomina expertly navigates through the emotions, from hopeful comfort to cataclysmic anticipation, while Karpeyev’s piano conjures a chilling winter landscape punctuated by crystalline and menacing dissonances. The cathartic “Spring” that ensues is a juxtaposition of lightheartedness and perpetual sadness, masterfully capturing Medtner’s irony.

Notably, “Sleeplessness” from Op. 37 stands out, as Fomina’s husky lower register melds seamlessly with Karpeyev’s brooding piano, breathing life into Medtner’s listless harmonies.

Recorded at Wyastone Concert Hall in the UK, the album offers a live feel, though the balance at times struggles to accommodate the intricate interplay of Medtner’s piano and vocal nuances. While minor missteps exist, the album’s liner notes provide a deeper understanding of Medtner’s influences and compositional style.

In conclusion, “Medtner – Songs – Sofia Fomina, Alexander Karpeyev” is a compelling testament to the convergence of Medtner’s heritage and artistry. Fomina and Karpeyev’s collaborative efforts bring these compositions to life, despite occasional balance challenges. With its rich tapestry of emotions and nuanced performances, this release undoubtedly merits a place in the collection of any true song enthusiast, shedding light on the profound beauty of Medtner’s musical legacy.

February 2021
The new album by the North American soprano Renée Fleming is vivid example of the art of singing. It leaves no doubt of how an artist of her stature can continue to surprise her audience and critics with such refined and sublime performances. 

With a careful selection of her favorite songs by Brahms, Schumann and Mahler, including Wiegenlied (Lullaby) by Brahms, the beauty that the interpreter achieves with her phrasing deeply reaches the listener’s heart. 

The record begins with eight songs by Brahms starting with the famous piece, “Wiegenlied”, op. 49 no. 4. Fleming interprets this lullaby with exquisite elegance and with admirable fluency. The brilliant accompaniment stands out in the following song “Ständchen”, op. 106 no. 1. The CD continues with “Lerchengesang”, op. 70 no. 2, with a precise and clear piano melody; and a subtle velvety voice. 

Equally exquisite and refined is «Mondnacht», WoO 21. Besides choosing songs of great lyricism, we can also find others with a more playful character, such as «Die Liebsten Schwur», op. 69 no. 4. and “Vergebliches Ständchen”, op. 84 no. 4.  

Fleming’s interpretive maturity enriches each song even more. We can hear her round voice in in each of the eight pieces that make up the Frauenliebe und Leben, op. 42 by Schumann, with chiaroscuro in the center register, vibrant highs and a great understanding of the style. The  is not in vocal display but in explaining each little story that the eight songs of the cycle contain: “Seit ich ihn gesehen”, “Er, der Herrlichste von allen”, “Ich kann’s nicht fassen, nicht glauben”, “Du Ring an meinem Finger”, “Helft mir, ihr Schwestern”, “Süsser Freund, du blickest mich verwundert an”, “An meinem Herzen, an meiner Brust”, and “Nun hast du mir den ersten Schmerz getan”.

The surprise comes in the last five tracks, in which the soprano sings Mahler along with the distinguished baton of Christian Thielemann, who masterfully conducts the Münchner Philharmoniker in the Rückert-Lieder (2010). Her “Liebst du um Schönheit” is deeply moving as well as her epic “Um Mitternacht” and the breathtaking “Ich bin der Welt abhanden gekommen” in which she also excels. Her immaculate tuning together with her strong communication power makes the perfect convination to make listeners fall in love with her expressiveness and the accents that she proposes in her phrasing.

Fleming’s latest album is a real treat for the ears from beginning to end. A true delight for the listeners to be carried away by her unique vocal charm.

– Paul Thomas

Lieder
Renée Fleming

Johannes Brahms
1. Wiegenlied, Op. 49, No. 4
2. Fünf Lieder Op. 106: 1. Ständchen “Der Mond steht über dem Berg”
3. Vier Gesänge Op. 70: 2. Lerchengesang
4. Vier Gesänge Op. 70: Mondnacht, WoO 21
5. Neun Gesänge Op. 69: 4. Des Liebsten Schwur
6. 4 Lieder Op. 43: 2. Die Mainacht
7. 49 Deutsche Volkslieder WoO 33: 6. Da unten im Tale
8. Romanze und Gesänge Op. 84: 4. Vergebliches Ständchen

Robert Schumann
9. Frauenliebe und -leben Op. 42: 1. Seit ich ihn gesehen
10. Frauenliebe und -leben Op. 42: 2. Er, der Herrlichste von allen
11. Frauenliebe und -leben Op. 42: 3. Ich kann’s nicht fassen, nicht glauben
12. Frauenliebe und -leben Op. 42: 4. Du Ring an meinem Finger
13. Frauenliebe und -leben Op. 42: 5. Helft mir, ihr Schwestern
14. Frauenliebe und -leben Op. 42: 6. Süsser Freund, du blickest mich verwundert an
15. Frauenliebe und -leben Op. 42: 7. An meinem Herzen, an meiner Brust
16. Frauenliebe und -leben Op. 42: 8. Nun hast du mir den ersten Schmerz getan

Gustav Mahler
17. Rückert-Lieder Op. 44: 1. Ich atmet’ einen linden Duft
18. Rückert-Lieder Op. 44: 2. Liebst du um Schönheit
19. Rückert-Lieder Op. 44: 3. Um Mitternacht
20. Rückert-Lieder Op. 44: 4. Blicke mir nicht in die Lieder
21. Rückert-Lieder Op. 44: 5. Ich bin der Welt abhanden gekommen

February 2021
After a few years of intermittent and erratic career, sadly marked by the death of his  mentor and wife, the also pianist Alicia Kerezade, we can finally celebrate his imposing and powerful return from Sony Classical, thanks to magnificent performances of prominent Beethoven piano Sonatas and the phenomenal Rachmaninov ‘s Sonata op 36 . Pogorelich aimed to unite for his return to the music world by recording works from two of the biggest composers’ virtuosos and piano performers ever. He does so by playing reference works, although some critics believe that perhaps a binomial Sonatas Waldstein or Appassionata by Beethoven confronted Rachmaninov could have been still more attractive.

In any case, Pogorelich offers us a very intimate approach of these works, with a very beautiful phrasing, a rather slow tempi, and a certain harshness in the pulsation which he compensates with a deep emotional charge and an even deeper introspection. 

The result is very fascinating and captivating. Particularly in the beautiful Beethoven Sonata No. 24, exquisitely played, and outstanding and formidable in Rachmaninov, performed in its proper measure, without sentimentality, with a remarkable sensitivity and great virtuosity. 

Beethoven’s Op. 54 leaves us moving moments, such as the fortes of the initial Menuetto, or the passage in the Adagio indication which leads to Tempo primo with greatly performed coda. Another detail is the absolute clarity in the articulation, as it happens in all the Allegretto. In Op. 78, the indications of leggieramente and the subtle crescendi are masterfully performed, immersing the listener an irresistible flow.

The first phrase of Rachmaninov’s Sonata has a unique pianistic color and a perfectly gradual progression towards a continuous sound clarity, which provides an exciting experience to the listener.

This return to the recording studios is very promising and would be highly celebrated by many music lovers. Big presence recording. Highly recommended.

– Clara Horner

Beethoven & Rachmaninoff
Ivo Pogorelich

Ludwig van Beethoven 
Piano Sonata No. 22 in F Major Op. 54
1. Piano Sonata No. 22 in F Major Op. 54: I  In tempo d’un Menuetto
2. Piano Sonata No. 22 in F Major Op. 54: II  Allegretto
3. Piano Sonata No. 24 in F-sharp Major Op. 78: I  Adagio cantabile – Allegro ma non troppo
4. Piano Sonata No. 24 in F-sharp Major Op. 78: II Allegro vivace

Sergei Rachmaninoff
5. Piano Sonata No. 2 in B-Flat Minor Op. 36: I  Allegro agitato
6. Piano Sonata No. 2 in B-Flat minor Op. 36: II Non allegro – Lento – attacca
7.  Piano Sonata No. 2 in B-flat minor Op. 36: III L’istesso tempo – Allegro molto

January 2021
Daniil Trifonov’s “Silver Age” album offers a remarkable exploration of Russian 20th-century piano masterpieces, elegantly curated with a blend of imagination and artistry. Accompanied by the Mariinsky Orchestra under Valery Gergiev’s baton, Trifonov embarks on a musical journey that unveils the diverse and evocative landscapes of these works.

The program opens with Stravinsky’s gleaming Serenade, a neo-classical gem from 1925 that melds tradition with innovation. Trifonov’s interpretation gracefully navigates the composer’s stylistic complexities, delivering both refinement and vivacity.

Prokofiev’s Eighth Piano Sonata follows, a powerful masterpiece spanning the tumultuous era of the Second World War. Trifonov’s performance exhibits striking intensity, particularly in the whirlwind passages that showcase his virtuosic brilliance. In contrast, the central minuet (Andante sognando) reveals Trifonov’s ability to create a dreamlike ambiance, captivating listeners with his emotive playing.

The quirky Gavotte from Prokofiev’s ballet “Cinderella,” transcribed for piano, adds a delightful twist to the album. Trifonov’s interpretation masterfully explores the piece’s whimsical and evocative qualities, providing a fresh perspective on this lesser-known gem.

Scriabin’s Piano Concerto, though dating back to the end of the 19th century, exudes a silvery and shimmering quality that aligns with the album’s theme. Trifonov’s nuanced performance beautifully brings out the concerto’s lyricism and romantic charm, presenting a compelling contrast to the more modern works.

Trifonov’s collaboration with Gergiev and the Mariinsky Orchestra yields exceptional results. Their partnership shines brightly in Prokofiev’s Second Piano Concerto, offering a gripping and unforgettable account of the work’s dramatic power. Similarly, Scriabin’s early concerto finds a delicate and captivating voice under Trifonov’s fingers, highlighting the piece’s pristine candor in the Theme and Variations.

Throughout the album, Trifonov’s interpretive choices demonstrate his keen musical intelligence and sensitivity. His ability to shape the music’s emotional arc is spellbinding, adding new dimensions to familiar pieces and breathing new life into each note.

“Silver Age” by Daniil Trifonov is an exceptional album that will leave a lasting impression on any classical music enthusiast. Trifonov’s artistry and the collaborative brilliance with Gergiev and the Mariinsky Orchestra elevate this recording to a realm of captivating musical exploration. Whether you are well-acquainted with these works or experiencing them for the first time, “Silver Age” promises an enthralling and enlightening journey through the heart of Russian classical music.