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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– David Gutman

SIX EVOLUTIONS – BACH: CELLO SUITES
YO-YO MA

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

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

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

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

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

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

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

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