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Using a 'tangent' piano - a short-lived hybrid of harpsichord and piano - for the pieces by Wilms and Schmitt, Arthur Schoonderwoerd plays with just the right amount of expressive freedom throughout.... —
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Zelenka: I Penitenti Al Sepolchro Del Redentore, Zwv 63
Collegium 1704, Collegium Vocale 1704, Václav Luks
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Rimsky-Korsakov: Scheherazade, A Tale
Golshifteh Farahani, Kristin Winters, Ensemble K, Simone Menezes
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Goerner’s opening statement in Fauré’s First Sonata is passionate, free and probing, and I was expecting violinist Tedi Papavrami to follow suit, but he is a little more discreet and gentle... —
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Nicolas Van Kuijk’s playing is strong and characterful enough to carry the passages where the first violin dominates, but all four players contribute to the extensive colour palette, precise... —
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Noël éternel
Yves Castagnet, Henri Chalet, Maîtrise Notre-Dame de Paris, Maîtrise de Radio France, Sofi Jeannin
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Special offer. American Dream
Ludmila Berlinskaya, Arthur Ancelle (piano)
Orchestre Victor Hugo, Jean-François Verdier, Laurent Comte
From her lively, accessible style, it's not hard to see why Suesse was nicknamed a 'Gershwin Girl', while the Moscow-born Babin's concerto reminds one instantly of Prokofiev. —
