November 2022
With “La Femme – A Journey of Female Composers,” Flaka Goranci and a group of exceptionally talented musicians bring to light a collection of compositions that have long been overshadowed by history’s gender biases. This album serves as a profound tribute to the creativity, strength, and resilience of women composers throughout history. Featuring a diverse selection of pieces spanning various genres and eras, this recording is not only a captivating musical experience but also a compelling narrative of empowerment and artistic triumph.

From the very first note, it is evident that this album is a labor of love and a testament to the overlooked talents of female composers. The repertoire chosen spans an impressive array of composers, some familiar and many obscure, highlighting the rich tapestry of women’s contributions to the musical world. From haunting melodies to vibrant folk tunes and intricate instrumental compositions, the album covers a broad spectrum of emotions and styles.

Flaka Goranci’s mezzo-soprano voice shines as the cornerstone of the album, weaving a thread through each piece that binds the diverse compositions into a coherent narrative. Her ability to convey a wide range of emotions, from melancholy and reflection to fervor and hope, is truly captivating. Joining her are Dima Orsho and Zoryana Kushpler, whose sopranos and mezzo-soprano voices add further depth and dimension to the vocal selections.

The collaboration between the artists and the World Chamber Orchestra under the baton of Konstantinos Diminakis is a masterstroke. The orchestra’s sensitivity to the nuances of each composition, as well as their ability to create a seamless backdrop for the vocal performances, is commendable. The orchestral selections offer a richly layered experience that complements the vocal pieces, allowing the listener to fully appreciate the intricate interplay between voices and instruments.

The album showcases a plethora of memorable moments, such as the hauntingly beautiful “The borrowed dress” by Suad Bushnaq, the waltz-like elegance of Jasmin Reuter’s “Salomea,” and the poignant expression of Ilse Weber’s “Wiegala.” Each piece contributes to the tapestry of female voices and perspectives that have often been silenced or overshadowed.

The accompanying booklet provides insightful context for each composition, delving into the lives and struggles of the composers, as well as the societal and historical contexts in which they lived and created. This background enhances the listener’s appreciation of the music, shedding light on the challenges faced by women artists and their determination to overcome barriers.

“La Femme – A Journey of Female Composers” is a triumphant celebration of women’s artistic achievements and a moving tribute to their perseverance. Flaka Goranci and her ensemble have crafted an album that is not only musically captivating but also culturally significant. Through their performances, they remind us that the power of music transcends time, place, and gender, and that the voices of women composers deserve to be heard, cherished, and celebrated. This album is a true gem that should be treasured by music enthusiasts and advocates of gender equality alike.

November 2022
“From Afar,” Vikingur Ólafsson’s latest piano album, is a remarkable musical journey that was born from an unexpected encounter with the esteemed composer György Kurtág during a concert visit in Budapest. The surprise meeting between the two musicians led to a transformative experience for Ólafsson, who was both humbled and elated to discover that Kurtág was already familiar with his work. The initial plan of a short meeting extended into a two-hour session where Ólafsson played various pieces for Kurtág, receiving invaluable suggestions and inspiring stories that would leave a lasting impact.

Gratitude and artistic inspiration intertwined as Ólafsson set out to express his appreciation to Kurtág. Instead of a conventional thank-you note, he crafted a program for this album, incorporating several of Kurtág’s own compositions. These pieces act as a “compass” that guides the listener through the diverse musical landscape showcased in the album.

Throughout “From Afar,” Ólafsson’s piano mastery shines, capturing the listener’s attention with a tone that is both ethereal and captivating. His delicate touch shapes every chord and inner voice with utmost care, revealing a translucent beauty that seems to emanate from the heart of the music itself. The artist’s impeccable articulation ensures clarity even in the most delicate and tender passages, inviting the audience to be enveloped in a world of sublime tranquility.

A noteworthy aspect of the album is the dual performance of the recital. Ólafsson ingeniously presents the program twice, once on a magnificent Steinway concert grand piano, and then again on an upright piano. The latter, covered with a layer of felt on the strings, imparts a permanent soft pedal effect. This intriguing approach adds a unique and evocative dimension to the music, further enhancing its emotional resonance.

While Ólafsson’s playing is undeniably enchanting, some listeners may find that the pursuit of perfection, though admirable, at times results in a certain homogeneity in his interpretations. As the album weaves through works by various composers, the sameness in attack, color, and tone might blur the distinctive voices of each composer. While the link between the pieces through Kurtág’s compositions is commendable, a more diversified palette of expression could have further enriched the listening experience.

For instance, the juxtaposition of Bach’s “Adagio” from the Keyboard G Major Sonata with Kurtág’s “Harmonika” from “Játékok (Games)” and Bartók’s “Three Hungarian Folksongs from the Csik District” showcases Ólafsson’s exquisite touch but may leave one longing for more contrasting emotional depths and colors.

Nevertheless, when encountering Brahms’ “Intermezzo in E Major” (from 7 Fantasien), Ólafsson’s ethereal interpretation finds a harmonious resonance with the preceding tracks. The unity achieved in the album is indeed commendable, but a touch more expressive variety could have brought even more richness to the collection.

In closing, Vikingur Ólafsson’s “From Afar” is an album that skillfully captures the essence of the music it presents. His artistry and sensitivity shine through every note, creating a serene and mesmerizing atmosphere. The concept of connecting the works through Kurtág’s compositions is both an innovative and thoughtful touch. While some may desire a more diverse emotional range, “From Afar” remains a captivating musical journey that showcases Ólafsson’s exceptional talent as a pianist and his profound ability to communicate through the keys.

November 2022
Hans Rott’s Symphony No. 1 in E major is a remarkable and tragic tale of a forgotten masterpiece that has finally found its rightful place in the world of classical music. Completed in 1880, the symphony remained in obscurity for over a century, with its creator suffering from mental illness and a series of unfortunate events. But thanks to conductor Jakub Hrůša and the Bamberg Symphony’s recent recording on Deutsche Grammophon, this hidden gem has been brought to life and introduced to a wider audience.

The symphony’s history is riddled with intrigue and misfortune. After being rejected for performance by none other than Johannes Brahms himself, Rott’s mental health deteriorated, culminating in a bizarre incident involving a train and accusations of sabotage. This unfortunate turn of events contributed to the symphony’s near-forgotten status until its first performance in 1989.

Jakub Hrůša’s passion for rediscovering overlooked works led him to stumble upon Rott’s symphony on the Internet. Already renowned for his interpretations of Gustav Mahler’s music, Hrůša proved to be an ideal choice for breathing life into Rott’s masterpiece. His deep understanding of Mahler’s style shines through in this recording, allowing him to grasp the symphony’s intricate nuances and connections to Mahler’s own works.

Rott’s musical lineage is evident, having been a star pupil of the great Anton Bruckner. Gustav Mahler, who held a strong appreciation for Rott’s compositions, even considered him to be the visionary behind the “new symphony.” This recording highlights the symphony’s influences, drawing comparisons to Mahler, Wagner, and Bruckner. The Scherzo, in particular, boasts Mahlerian characteristics, capturing the essence of Mahler’s symphonic language.

The symphony is a testament to Rott’s prowess in constructing grand musical structures. With boundless energy coursing through its movements, the nearly 25-minute finale stands as a testament to Rott’s ability to captivate listeners with its dynamic and engaging soundscapes. The Bamberg Symphony players, under Hrůša’s skilled guidance, deliver stunning performances, especially during the numerous demanding solo passages that pepper the symphony.

Hrůša’s advocacy for including this symphony in the regular repertoire is evident in the conviction and passion conveyed throughout the recording. He skillfully brings out the symphony’s emotional depth and intricacies, leaving an indelible mark on listeners who may be experiencing this work for the first time. It is a must-hear for any lover of symphonic music, and it firmly establishes Hans Rott’s Symphony No. 1 as a timeless addition to the classical canon.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.