Onyx
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The sound of Ehnes's violin is especially full and expressive; it's not the kind of tone Tchaikovsky would have recognised but it sound gorgeous and allows him to rise to the concerto's lyrical... —
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To devise a programme encompassing multiple achivement aspects of the Liszt phenomenon is one thing. To deliver it with the kind of wide-ranging musicianship that's required is another, and... —
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Brahms: Piano Concerto No.1 & Four Pieces for Piano Op. 119
Joseph Moog (piano), Deutsche Radio Philharmonie, Nicholas Milton
Moog’s first entry [is] clear and unfussy, with enough subtle rubato to give the music shape and direction. The pacing is always effective, but there could be a greater dynamic range, with pianissimos... —
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Goetzel calibrates dynamic terracing particularly deftly [in the Hindemith scherzo]...[He] also excels in Florent Schmitt's festeringly erotic Tragedy of Salome...drawing playing of hot commitment... —
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Performance takes on an urgent narrative as Vasily Petrenko brings his own brand of Russian authority to the music. —
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Philippe Graffin plays Schumann
Philippe Graffin (violin), with Claire Désert (piano)
Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, Christoph Poppen
Most of [the transcription] works well enough...and there are even one or two gains...Graffin makes a very appealing case for it...Clara Schumann's Three Romances are much more than salon sweetmeats,... —
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His Rhapsody in Istrian Style is ‘loosely based’ on his own Concerto in the Istrian Style, which he recorded with the Munich Radio Orchestra in 2023 (BR-Klassik). Improvisatory elements and... —
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Gomziakov and his pianist, Andrei Korobeinikov, play both works with ardent Romantic expressiveness, well capturing in the First Sonata the second movement’s impetuous and stormy episodes. —
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Into his sequence of Ravel’s Valses nobles et sentimentales and Miroirs, Tan interpolates choice instances of influence. The Valses are preceded by Weber’s Invitation to the Dance, dispatched... —
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Dausgaard and the BBC Scottish Symphony Orchestra make a convincing case for this sometimes disorientating piece [Suite No. 1], with plenty of drive and contrast, plus consistently well-defined... —
