August 2023
In his album “Mystique,” classical guitarist Krzysztof Meisinger showcases his artistry and virtuosity with a delightful selection of works by Tarrega, Albeniz, Mompou, and Domeniconi. Released by Chandos Records, this collection takes listeners on a captivating journey through the rich musical traditions of Spain and beyond.

The album opens with a nod to Francisco Tarrega, whose enchanting “Capricho árabe” captures the essence of the Valencia region, where the composer grew up, beautifully blending Muslim Castilian and Christian influences. Meisinger’s masterful interpretation breathes life into each delicate note, paying homage to the timeless beauty of this classic piece.

Transitioning to the works of Isaac Albéniz, we are treated to the lively “Malagueña,” originally published in the collection España. Though a pianist, Albéniz knew how to evoke the spirit of the guitar, and Meisinger expertly channels that essence, creating an enchanting rendition that captures the essence of southern Spain.

The heart of the album lies in Federico Mompou’s “Suite compostelana,” a work commissioned by the legendary Andrés Segovia. Meisinger brings out the emotional depth and sensitivity of this suite, which was first published in 1964, the same year Segovia recorded it. The intricate interplay of emotions and musical colors is beautifully conveyed in Meisinger’s interpretation.

Carlo Domeniconi’s compositions draw from various national traditions, with a special interest in Turkish music. The “Variationen über ein anatolisches Volkslied” (Variations on an Anatolian Folksong) reflect Domeniconi’s deep study of Turkish melodies. Meisinger skillfully navigates through the intricate variations, capturing the essence of the Anatolian folksong “Uzun ince bir yoldayim.”

The album’s centerpiece is “Koyunbaba,” a captivating four-movement suite for guitar by Domeniconi. Originating as an improvisation, the piece was soon transcribed into a musical score. Meisinger breathes life into the music, skillfully combining the composer’s written notes with his own improvisations, culminating in the evocative “Invocazione” at the work’s beginning.

Krzysztof Meisinger’s “Mystique” is a spellbinding journey that exemplifies his exceptional musicianship and deep understanding of the music’s cultural contexts. With his profound interpretation of these works by Tarrega, Albeniz, Mompou, and Domeniconi, Meisinger pays homage to the composers’ intentions while imbuing the music with his own artistic flair. Chandos Records presents a recording that will undoubtedly resonate with classical guitar enthusiasts, taking them on a captivating voyage through the rich tapestry of Spain and beyond.

August 2023
In a sweeping musical revelation, world-renowned violin virtuoso Hilary Hahn takes us on an enchanting voyage through the illustrious works of Eugène Ysaÿe’s Six Sonatas for Violin Solo, op. 27. Her latest recording on the esteemed Deutsche Grammophon label has marveled critics and music enthusiasts alike.

Diving into the depths of Hahn’s musical prowess, esteemed music critic Rob Cowan, writing for Gramophone, proclaims that her rendition of the Ysaÿe Sonatas ranks among her most remarkable achievements. The unparalleled richness of her pulsing tone, coupled with a masterful technical command, showcases her unabashed confidence and imaginative flair, elevating this recording to a league of its own. Cowan praises Hahn’s unique ability to infuse the compositions with a sense of freshness and spontaneity, seemingly tapping into Ysaÿe’s own creative muse.

The Six Sonatas for Violin Solo were birthed in the early 1920s and remain unrivaled in their technical virtuosity within the violin repertoire. Hahn’s masterful interpretations, recorded with impeccable timing in anticipation of the approaching centenary, pay homage to the illustrious composer himself, forging a powerful connection between past and present.

Stepping into Ysaÿe’s shoes, Hahn reveals her inspiration for embarking on this momentous journey. The indelible impact of Ysaÿe’s musical legacy has spurred her to evolve continually as an artist, pouring her heart and soul into each composition, and committing herself entirely to the essence of the music. Her performance goes beyond mere notes on the page, drawing on a lineage of artistic expression that spans centuries, a testament to the unbroken chain of musical genius.

Eugène Ysaÿe, a musical trailblazer revered as the first modern violinist, has left an indelible mark on the evolution of violin techniques and expressiveness. As a composer, he penned these iconic six sonatas, forever etching his name into the annals of violin repertoire. Ysaÿe’s compositions, often inspired by the legendary J.S. Bach, meld contemporary musical language, innovative bowing, and left-hand techniques, culminating in a revolutionary treatise on violin composition in the 20th century.

Enhancing the artistic essence behind each sonata, Hahn’s performance pays tribute to Ysaÿe’s genius. Each sonata dedicated to a renowned performer of his time, today these pieces stand as the ultimate test of a violinist’s technical skill and artistic brilliance. They defin a generation of performers and represent a mesmerizing celebration of the violin as an instrument of unparalleled expression.

Hahn’s journey into the heart of Ysaÿe’s masterpieces began during a serendipitous sojourn to Paris. Imbued with a sense of spiritual connection, she visualized herself and Ysaÿe walking the same hallowed paths, separated only by the unyielding march of history. Driven by the myth of Ysaÿe’s rapid composition of the sonatas, she delved into the sketches and discovered the true depth of his genius. The approaching centenary and a profound artistic lineage compelled her to embark on a passionate recording of all six sonatas, a commitment to musical history that would define her own artistic journey.

Immersed in the magical world of Ysaÿe’s music, Hahn’s recording sessions unfolded with an almost cosmic synchrony. Performing each sonata in chronological order, she was taken aback by the surprising and hypnotic sounds emanating from her instrument. Embracing the heritage that reverberated through her very soul, she emerged from each session, her mind reharmonized by the tonalities that enveloped her in a musical embrace.

Hilary Hahn’s extraordinary recording of Ysaÿe’s Six Sonatas for Violin Solo is a triumph of artistry, a beacon of reverence to an era of musical innovation. With her exceptional talent, unwavering passion, and profound understanding of the music’s essence, Hahn breathes new life into Ysaÿe’s masterpieces, etching her name alongside the luminaries who have paid homage to these timeless works before her. As we journey through the mesmerizing tapestry of sound she weaves, we bear witness to a timeless celebration of the violin’s unparalleled beauty and the unbreakable connection between the past and the present.

December 2020
Elgar’s monumental choral work “The Dream of Gerontius” has graced the repertoire for decades, with its profound exploration of life, death, and the soul’s journey after passing. The recording under review, capturing live performances from Berlin last September, features an exceptional ensemble of artists conducted by the illustrious Daniel Barenboim. This rendition not only defies the challenges presented by changes in soloists but also stands as a deeply insightful interpretation of Elgar’s composition.

Andrew Staples takes on the demanding role of the title character, a task he undertook due to the unexpected withdrawal of Jonas Kaufmann. Despite the short notice, Staples delivers a remarkable portrayal. His clear and focused tone, though not the most opulent, suits the role remarkably well. Staples navigates the work’s diverse emotional landscape with intelligence and finesse, seamlessly transitioning from moments of great heft, such as the powerful “Sanctus fortis,” to passages of delicate nuance, like the dialogues with the Angel. Staples’ thoughtful interpretation, coupled with his attention to Elgar’s dynamic markings and note values, reflects his commitment to the text and his genuine understanding of the character.

Catherine Wyn-Rogers, who previously recorded the role of the Angel, brings newfound maturity and sensitivity to her interpretation. Her radiant delivery and nuanced phrasing imbue the role with an unparalleled emotional depth. Wyn-Rogers’ experience shines through as she navigates the complexities of the character’s journey, delivering a performance that is both eloquent and deeply moving. Her interactions with the other soloists and the orchestra are a testament to her artistry, capturing the wonderment and consolation that the Angel embodies.

Thomas Hampson’s contribution, though slightly underwhelming as the Priest, gains strength as he embodies the Angel of the Agony. His imposing yet expressive style brings an air of command to the role, offering a fitting contrast to the gentler moments. Despite minor concerns with projection and pronunciation, Hampson’s performance remains compelling and engaging.

The Staatskapelle Berlin, conducted by Barenboim, presents an orchestral performance that is both richly hued and supple. Their responsiveness and incisiveness underscore the choral and solo performances, creating a harmonious unity throughout the work. Barenboim’s conducting, marked by his willingness to explore expansive tempos, breathes new life into the score. While some choices may appear unconventional, they encourage listeners to engage with the music on a deeper level, making this performance a thought-provoking and distinctive rendition of Elgar’s masterpiece.

The Decca recording captures the dynamics and nuances of the live performance with fidelity, showcasing the orchestra’s robust sound and the subtleties of the vocal performances. Overall, this recording of Elgar’s “The Dream of Gerontius” under Daniel Barenboim’s baton is a deeply considered and superbly performed account that stands tall among the finest interpretations in the discography of this profoundly moving work.

August 2023
“Live from the Cliburn” is more than a compact disc release; it’s a resounding testament to the extraordinary talent and audacity of Yunchan Lim, a young South Korean pianist who has taken the piano world by storm. This album captures the electrifying semi-final recital that marked Lim’s debut on the international stage at the 2022 Van Cliburn International Piano Competition. Although the event has been available for viewing online for over a year, this recording immortalizes the exceptional prowess and charisma that define Lim’s performance.

Lim’s daring decision to tackle Liszt’s Transcendental Études in their entirety during the semi-final round is a masterstroke that sets the tone for the entire album. At the tender age of eighteen, Lim’s command of these demanding pieces is nothing short of awe-inspiring. His flawless execution of the Études, performed as a continuous sequence without breaks, showcases not only his technical brilliance but also his unwavering musical conviction.

The audacity of Lim’s choice is matched only by the depth of his expression. His playing transcends mere virtuosity, offering a profound exploration of Liszt’s intricate compositions. Whether navigating the dynamic peaks or conveying the subtlest nuances, Lim’s playing exhibits both sensitivity and restraint. His ability to seamlessly transition from titanic power to lyrical introspection reveals a musical maturity that belies his age.

The recording captures the live atmosphere of the performance, complete with spontaneous applause and occasional audience sounds. Rather than detracting from the experience, these moments underscore the palpable connection between Lim and his audience. While the sound quality may not always achieve ideal warmth, it authentically captures the essence of the live setting, transporting listeners to the very heart of the concert hall.

Marin Alsop, who chaired the competition jury and conducted the final concerti, aptly describes Lim as an artist who effortlessly unites profound musicality with prodigious technique. This sentiment resonates throughout the album, as Lim’s playing seamlessly weaves together technical brilliance and emotional depth. “Live from the Cliburn” not only documents a remarkable performance but also heralds the arrival of a pianist destined for an enduring international career.

In a world where artistry and audacity often converge, Yunchan Lim’s “Live from the Cliburn” stands as a testament to the convergence of remarkable talent and fearless expression. This album demands to be heard, offering listeners the chance to witness the birth of a musical legend and experience the magic of a live performance that will resonate for years to come.

July 2023
The Armida Quartett, joined by the pianist Martin Klett, delivers a compelling performance of Franck and Martin’s Piano Quintets in this captivating release by CAvi-music. The recording showcases the distinct approaches of the two composers to the piano quintet medium, with Franck placing the piano at the forefront and Martin reserving it for a unique role.

Franck’s 1879 composition presents a rich tapestry of melodies, where the piano takes on a prominent and leading role. The performers embrace Franck’s intricate melodies, weaving them into a cohesive and emotionally charged narrative. The Armida Quartett and Martin Klett exhibit a remarkable ability to convey the nuances of Franck’s dynamic range, effortlessly navigating from the most delicate pianissimos to thundering fortissimos. Throughout the work, their synergy and interpretive depth create a harmonious balance, drawing the listener into Franck’s intricate tonal exploration.

In contrast, Martin’s 1919 Piano Quintet displays a more fragmented and contrapuntal approach to composition. The 29-year-old composer’s skill in intertwining brief musical ideas is evident, although he diverges from Franck’s penchant for building long, sweeping melodies. This divergence presents a challenge that the performers meet with finesse, embracing the intricacies of Martin’s composition. The musicians’ trust in the composer’s markings allows the work’s complexity to shine, with the only exception being a minor unmarked accelerando in the final bars of the Franck piece.

One of the intriguing commonalities between Franck and Martin lies in their playful treatment of tonality. Franck’s daring shifts between D flat major and A minor are matched by Martin’s even bolder tonal explorations. The note-writer’s insight into Martin’s avant-garde inclinations adds depth to the analysis, noting that despite brief forays into 12-note serialism, tonality remains the guiding force.

The Armida Quartett and Martin Klett excel in their execution, showcasing a remarkable range of dynamics that spans from the most delicate lyricism to awe-inspiring grandeur. Their collective virtuosity is harnessed masterfully, allowing the performers to traverse the demanding terrain of both Franck and Martin’s works. The ensemble’s ability to maintain a well-balanced interplay between instruments contributes to the recording’s overall coherence.

While the review does not dwell on minor imperfections, the unmarked accelerando in the Franck’s closing bars is a forgivable exception. In light of the exceptional performances throughout, this minor deviation seems inconsequential.

Armida Quartett and Martin Klett’s  commitment to embracing the distinct nuances of each work, along with their impeccable technical prowess, results in a recording that invites listeners to delve into the intricate musical landscapes crafted by Franck and Martin. This release is a testament to the musicians’ artistry and dedication, making it a valuable addition to any classical music collection.

July 2023
In “Berlin Stories,” Trio Gaspard takes us on an enthralling musical journey, diving into the cultural capitals of Mendelssohn, Juon, and Skalkottas. Although the title hints at a specific Berlin experience, the pieces themselves seem to transcend geographical boundaries, making this album a delightful exploration of diverse musical expressions.

Opening with Mendelssohn’s Piano Trio No. 2 in C minor, Op. 66, the trio showcases their technical prowess and emotional depth. The outer movements burst with liveliness and passion, a true embodiment of Beethovenian spirit. Trio Gaspard maintains clarity and precision throughout the stormy turbulence of the work, skillfully conveying the composer’s rich musical tapestry. However, it’s worth noting that while the violinist, Jonian Ilias Kadesha, dazzles with his virtuosity, his presence occasionally lingers in the shadows, yearning for more moments to shine.

Paul Juon’s Litaniae, Op. 70, takes us on a mesmerizing journey through a post-Romantic landscape of epic proportions. Written after World War I, this tone poem radiates intense emotions and spiritual depth. Trio Gaspard’s unwavering commitment to the piece is evident, immersing listeners in its unrelenting intensity. Amidst Juon’s thick chromaticism, the trio deftly navigates moments of lightness, offering a respite before plunging back into the sea of emotions. This piece, with its unique character, might not be for the faint-hearted, but it certainly leaves a lasting impression.

Nikos Skalkottas’ Eight Variations on a Greek Folk Theme add a fresh and intriguing dimension to the album. Drawing from the Viennese cultural universe of his teacher, Arnold Schoenberg, Skalkottas masterfully blends serial and tonal elements. Trio Gaspard’s performance brings out the clean dissonance and playfulness, creating a compelling contrast to Juon’s dense compositions. The musicians’ interpretation accentuates the piece’s uniqueness, captivating listeners with its inventive charm.

Trio Gaspard proves their musical prowess throughout “Berlin Stories,” breathing life into each piece with their masterful artistry. While the geographical link to Berlin might not be explicitly felt in all compositions, the trio’s ability to convey the emotional essence of the music is undeniable. The recording quality ensures a balanced listening experience, allowing every instrument to shine brightly.

“Berlin Stories” by Trio Gaspard is a captivating journey through varied musical landscapes, demonstrating the trio’s deep appreciation and understanding of each piece. Their passion and skill make this album a delightful choice for chamber music enthusiasts, offering a diverse repertoire that is both challenging and rewarding. Whether you seek exhilarating fervor or contemplative introspection, this album has something special to offer.

July 2023
Conductor Pablo Heras-Casado and the Freiburger Barockorchester present a delightful and emotionally rich exploration of Schubert’s Symphonies Nos. 5 and 7 ‘Unfinished.’ Their flourishing partnership has yielded a growing catalog of quality recordings, and this album is no exception. Heras-Casado’s approach seeks to highlight the stylistic differences between these two symphonies, and the results are captivating and worth a listen.

From the very first notes of Symphony No. 5 in B-flat major, D. 485, the Freiburger Barockorchester demonstrates their exceptional skill and chamber-like cohesion. Heras-Casado’s brisk yet nuanced direction breathes fresh life into the music, infusing it with sheer joy and balletic grace. The ‘Allegro’ opening sets a thrilling pace, capturing the essence of youthful exuberance. The second movement takes a more songful approach, with expressive phrasing and intimate interplay among the musicians. In the ‘Menuetto,’ the ensemble’s virtuosity shines through, creating a delightful contrast between the lively Scherzo and the charming Trio. The final ‘Allegro Vivace’ is a whirlwind of energy and enthusiasm, leaving listeners with a sense of jubilation.

In Symphony No. 7, D. 759, ‘Unfinished,’ Heras-Casado brings a romantic and emotionally rich conception. The Freiburger Barockorchester’s transparent and lean sound complements the music’s inherent beauty, creating a haunting and atmospheric performance. The first movement is imbued with brooding atmosphere and expertly builds tension, leading to a gripping central climax. The second movement surprises with its buoyancy and ravishing horn sounds, followed by delicate and soul-stirring wind solos. Heras-Casado’s attention to the myriad of emotions in this movement results in a truly captivating experience.

The Freiburger Barockorchester’s expertise as a period instrument ensemble is evident throughout the album. Their impeccable balance and unity of playing reflect their chamber-music approach, creating an organic and unified sound. The recording quality is outstanding, capturing the ensemble’s every nuance and detail with remarkable clarity.

While some might yearn for a longer album duration, the vibrant and beautifully played readings presented here leave a lasting impression. Heras-Casado’s interpretative choices, coupled with the Freiburger Barockorchester’s artistry, breathe new life into these timeless symphonies. This recording is a testament to the ensemble’s musical brilliance and an invitation to discover Schubert’s music with fresh ears.

In conclusion, ‘Schubert’s Symphonies Nos. 5 & 7 ‘Unfinished” is a captivating and transcendent exploration of musical brilliance. Heras-Casado and the Freiburger Barockorchester prove themselves as exceptional interpreters of Schubert’s works, offering listeners an unforgettable and emotionally profound journey. Whether a seasoned classical music enthusiast or a newcomer to Schubert’s symphonies, this album is a must-have addition to any music collection. Prepare to be transported to a world of musical wonder and be captivated by the timeless beauty of Schubert’s genius.

July 2023
The new release by Julia Fischer and Kirill Troussov on Orchid Classics is a true gem for chamber music enthusiasts. Bringing together two of the world’s most sought-after violinists, this album features rarely-heard 20th-century Russian chamber pieces: Dmitri Shostakovich’s Five Pieces for Two Violins and Piano, and Sergei Prokofiev’s Sonata for Two Violins.

The exploration of two violins duetting and engaging in a musical dialogue is at the heart of both compositions, making this repertoire a perfect showcase for the natural rapport and exceptional artistry of Fischer and Troussov. Their chemistry and deep understanding of the music shine through each note, captivating the listener from start to finish.

The album begins with Shostakovich’s Five Pieces for Two Violins and Piano, beautifully arranged by Lev Atovmyan. In the Prelude, the violinists immediately draw the listener into their world with a sense of anticipation and mystery. The Gavotte follows with its tranquility and lightness, demonstrating the artists’ impeccable phrasing and seamless coordination.

Moving on to the Elegy, Fischer and Troussov skillfully convey the emotional depth of the piece, leading to the enchanting Waltz with its charming waltzing rhythm. The finale, Polka, brings a burst of energy and vivacity, showcasing the violinists’ virtuosic flair and playful spirit.

The second half of the album features Prokofiev’s Sonata for Two Violins in C Major, Op. 56, a rarely performed gem in the violin repertoire. Fischer and Troussov handle this demanding work with grace and passion, delving into its various moods and nuances. The first movement, Andante cantabile, unfolds with a lyrical and expressive quality that tugs at the heartstrings.

In the Allegro, the violinists display their technical prowess, effortlessly navigating the intricate passages and intricate rhythms. The Commodo, quasi allegretto offers a gentle and charming respite, before the duo launches into the vibrant and spirited Allegro con brio, leaving the listener exhilarated.

Throughout the album, Julia Fischer and Kirill Troussov’s playing is marked by precision, sensitivity, and a profound musical understanding. Their seamless ensemble and unified phrasing create a captivating listening experience. The sound engineering by Orchid Classics perfectly captures the depth and intimacy of their performances.

Individually, Fischer and Troussov are celebrated violinists, and their collaboration on this album is a testament to their remarkable talent and artistic vision. Their partnership brings out the best in each other, resulting in a compelling and memorable musical encounter.

In conclusion, Julia Fischer and Kirill Troussov’s violin duos release is a captivating exploration of musical brilliance and a delightful addition to the chamber music repertoire. With their impeccable artistry and innate chemistry, they breathe new life into these lesser-known works, making this album a must-have for any classical music enthusiast’s collection. Prepare to be enchanted by the mesmerizing world of Fischer and Troussov as they take you on a mesmerizing journey through the heart of Russian chamber music.

July 2023
Christian Li, the young and talented violinist who shot to fame in 2018 by winning the Junior Category of the Yehudi Menuhin Competition at just ten years old, returns with a captivating new album, “Discovering Mendelssohn,” released by Decca Classics. In this collection of works, Li pays homage to composer Felix Mendelssohn, presenting pieces that hold special significance in the composer’s heart.

The album opens with Mendelssohn’s cherished “On Wings of Song,” tenderly arranged for strings and harp. Li’s performance is nothing short of mesmerizing as he weaves his way through the piece, tastefully embellishing the melody and infusing it with genuine emotion. His flawless technique and seamless phrasing reveal a level of artistry beyond his years.

Moving on to Mendelssohn’s “Rondo Capriccioso, Op. 14,” accompanied by Lawrence Matheson and arranged by Abram Yampolsky, Li impresses with his warm and heartfelt interpretation. The Rondo comes alive with Li’s nimble and virtuosic playing, captivating listeners with his mature approach and extraordinary skill. The bravura coda leaves a lasting impression, a testament to Li’s remarkable talent.

In the iconic “Serenade” from Schubert’s “Schwanengesang,” Li and his accompanying artist deliver a poignant and soul-stirring rendition. Mischa Elman’s arrangement provides the perfect backdrop for Li’s expressive and sensitive performance, taking us on a nostalgic journey through the heartfelt song.

Li’s partnership with pianist James Baillieu comes to the fore in Mendelssohn’s “Spring Song,” Op. 62. Together, they breathe life into this popular piece, infusing it with joy and jubilation. Li’s endearing performance captures the essence of spring, leaving us uplifted and captivated.

The centerpiece of the album is Mendelssohn’s “Violin Concerto in E minor, Op. 64,” where Li joins forces with the Melbourne Symphony Orchestra conducted by Sir Andrew Davis. This concerto, a favorite of audiences and violinists alike, showcases Li’s mastery as he effortlessly navigates its intricacies. With warmth, passion, and an unwavering sense of musicality, Li’s interpretation is nothing short of remarkable, making this a standout recording that is sure to be treasured by classical music aficionados.

Li’s collaboration with cellist David Berlin in J.S. Bach’s “St Matthew Passion” adds a soulful dimension to “Erbame Dich, mein Gott.” The arrangement effectively conveys the poignant emotion of the piece, and the interplay between the violin and cello is beautifully executed.

Wolfgang Amadeus Mozart’s “Violin Sonata No. 21, K 304” finds Li and Baillieu in perfect harmony once again. The reflective and emotive performance is a testament to their musical connection, delivering a moving and memorable rendition of this work.

The album concludes with Mendelssohn’s delightful “Venetian Gondola Song” from “Songs Without Words.” Li’s collaboration with guitarist Xuefei Yang creates a delightful soundscape, capturing the essence of Venice as imagined by the composer. This charming and delightful piece is the perfect ending to an enchanting musical journey.

While initially skeptical of combining a well-known concerto with smaller pieces, often considered as encores or salon music, the album’s flow works splendidly. Christian Li’s artistry impresses with his assured technique, passion, agility, and grace, while also revealing a depth of musical feeling and maturity well beyond his years. This album is a must-have addition to any classical music collection, and it firmly establishes Christian Li as a rising star in the world of classical violinists. Bravo to this remarkable young artist!