Szymanowski: Piano Works” on Deutsche Grammophon, proves to be a captivating and exquisite exploration of the music of his native Poland. This solo disc comes after a five-year hiatus from Zimerman’s solo recordings, making it a highly anticipated and special event for classical music enthusiasts.

The album showcases a thoughtful selection of Karol Szymanowski’s piano works, providing a comprehensive glimpse into the different phases of the composer’s artistic development. While some of Szymanowski’s well-known pieces, like the three “poems” of Métopes and all three piano sonatas, are absent, Zimerman’s careful curation ensures the representation of various facets of the composer’s style.

The disc commences with the four preludes from Szymanowski’s Op. 1, composed in 1900. Zimerman’s masterful interpretation transforms these preludes into radiant jewels, revealing their Chopinesque influences. The stylistic contrast becomes evident as we progress to the Masques, written 15 years later. In this set of character pieces, Szymanowski’s modernism comes to the fore, drawing inspiration from Scriabin, Stravinsky, and Debussy. Zimerman’s playing demonstrates a remarkable command of keyboard texture and color, reminiscent of his unparalleled Debussy performances.

The album further highlights Szymanowski’s mature phase with a selection of mazurkas from Op. 50. Here, Zimerman gracefully navigates the delicate lyricism juxtaposed with the rustic robustness inspired by the folk music of the Tatra mountains, offering a captivating contrast to the earlier pieces.

The culmination of the album lies in the Variations on a Polish Folk Theme Op. 10, composed in 1904. In this piece, Zimerman masterfully executes a funeral march reminiscent of Chopin’s style, followed by a bravura fugal finale. The recording showcases yet another facet of his exceptional pianism, as he exhibits command over virtuoso brilliance as well as the subtlest nuances of phrasing and pacing.

Throughout the album, Zimerman’s deep connection to his native Polish music is palpable, and his interpretation of Szymanowski’s works is marked by a genuine affection for the composer’s creations. His technical prowess and artistic sensitivity converge seamlessly, producing a marvellous listening experience.

This CD is a true gem that leaves a lasting impression, making it an essential addition to any classical music lover’s collection.

“Legacy” presents a profound dive into the world of classical music, skillfully intertwining the works of renowned composers. The album features cellist Christian-Pierre La Marca alongside the accomplished ensemble Le Concert de la Loge, under the direction of conductor Julien Chauvin. This collection artfully contextualizes Joseph Haydn’s two striking cello concertos while incorporating compositions by his mentor Porpora, a reconstructed snippet from Mozart’s Sinfonia Concertante, and a touch of Gluck. The resulting amalgamation stands as a remarkable display of the artists’ nuanced interpretations and an engrossing exploration of the classical repertoire.

The album commences with Haydn’s Cello Concerto Nos 1 & 2, brought to life by the impeccable skill of Le Concert de la Loge. The ensemble’s agility and rhythmic precision shine brightly in the introductory tutti of the C major Concerto, seamlessly setting the stage for Christian-Pierre La Marca’s entrance. La Marca’s cello exudes an air of elegance and delicacy, effortlessly navigating the intricate passages and numerous chords that dot the composition. His unique cadenza, though veering from convention, adds a personal touch that injects fresh life into the performance. The Andante section showcases La Marca’s masterful phrasing and dynamic control, crafting a compelling narrative through his melodic prowess. The Allegro molto finale, propelled by a controlled intensity, ensures that the momentum remains palpable from start to finish.

Transitioning to the D major Concerto, the ensemble’s approach takes on a genial quality, echoing the thematic contours and rhythmic playfulness inherent in the piece. La Marca’s performance in this concerto is nothing short of extraordinary, with his double stops in the Adagio section resounding melodically and elevating the emotive depth of the composition. The synergy between La Marca and Le Concert de la Loge results in a harmonious blend of sounds, allowing the concerto’s inherent beauty to flourish.

The album also offers a tantalizing glimpse into Mozart’s genius through Robert Levin’s reconstruction of the incomplete Allegro from the Sinfonia Concertante for string trio. The confident interplay between the trio and the orchestra provides a mere glimpse into the grandeur that could have been, leaving listeners yearning for the complete opus.

In contrast, the Porpora concerto movement, though executed with skill, falls short of matching the album’s overall intrigue. The piece briefly comes to life with the participation of countertenor Philippe Jaroussky, reminiscent of an aria extracted from one of Porpora’s operatic works. Meanwhile, Gluck’s “Dance of the Blessed Spirits,” although a composition of undeniable beauty, feels slightly out of place within the album’s context, serving as a minor diversion from the central narrative.

In “Legacy,” Christian-Pierre La Marca and Le Concert de la Loge unveil a thought-provoking exploration of time-honored compositions, shedding light on the brilliance of Haydn and his contemporaries. The album’s meticulous attention to detail, consummate performances, and thoughtfully curated selection of compositions make it a valuable addition to the realm of classical music. It beckons listeners to delve into the rich tapestry of musical history, inviting them to uncover the intricacies that have shaped the legacy of these remarkable composers.

In her latest release, “Romantic Piano Masters,” Mariam Batsashvili delves into a rich tapestry of musical artistry from the Romantic era, presenting an insightful collection of Liszt’s operatic ‘paraphrases’ and transcriptions from other composers that illuminate their brilliance and contrasts.

The album’s inception transports us to the vibrant 19th-century virtuosic landscape, commencing with Liszt’s evocative transcription of scenes from Gounod’s “Faust.” Batsashvili’s rendition masterfully encapsulates the dramatic essence of these extracts, deftly comparing Liszt’s innovation with the conventional pianistic effects characterizing Thalberg’s Caprice on arias from Bellini’s “La sonnambula.” The pianist expertly communicates Liszt’s ‘paraphrase,’ allowing her sound to unfold gracefully, like petals of an opening flower, enveloping the listener in a realm of profound emotions and vivid imagery.

Batsashvili’s mastery and finely calibrated control become evident throughout the album. Her interpretation of Liszt’s Schubert transcriptions reveals her profound respect for the material. Influenced by Dietrich Fischer-Dieskau’s nuanced style, Batsashvili maintains an exquisite equilibrium between romanticism and restraint. This equilibrium is beautifully portrayed in her performance of “Ständchen,” which exudes conviviality, and “Aufenthalt,” where she intertwines pleasure and pain into a poignant blend. A standout moment emerges in her rendering of Liszt’s rarely-encountered “Die Loreley,” as she captures its fleeting allure, allowing the music to shimmer momentarily before gracefully fading away.

While the inclusion of a Chopin waltz might initially appear unconventional, Batsashvili’s astute programming seamlessly integrates it into the album, enriching the overall narrative without disrupting the spell she casts over the listener. Her musicality remains consistently evident, weaving unexpected pairings into a seamless tapestry.

“Romantic Piano Masters” showcases Batsashvili’s exceptional artistry, shedding light on the contrasting approaches of Romantic-era virtuosos and celebrating the intricate compositions they left behind. This release invites listeners to immerse themselves in the world of Romantic piano music through the lens of one of today’s most remarkable pianists. With its compelling performances and thoughtful programming, this record is a must-listen for both seasoned enthusiasts and newcomers to the profound realm of Romantic-era piano music.

The brilliant violinist Lisa Batiashvili has once again captivated audiences with her latest recording, “Secret Love Letters,” featuring an exquisite selection of works by Franck, Szymanowski, Chausson, and Debussy. Published by Deutsche Grammophon, this album showcases Batiashvili’s exceptional artistry, complemented by the skilled piano accompaniment of Giorgi Gigashvili and the Philadelphia Orchestra led by the renowned conductor Yannick Nézet-Séguin.

The album opens with Franck’s  Violin Sonata in A, a piece that captures the essence of romance and emotion. Batiashvili’s heartfelt interpretation, with its tender phrasing and seamless transitions between movements, makes for an unforgettable listening experience. Each note seems to carry a secret message, resonating with the listener’s soul.

A hidden gem of the recording is Szymanowski’s mesmerizing Violin Concerto No. 1, Op. 35. This one-movement wonder showcases the violinist’s virtuosity, as well as her ability to evoke a kaleidoscope of emotions. The concerto’s exotic and sensuous melodies weave a spellbinding atmosphere, transporting the listener to distant lands of mystery and passion. Batiashvili’s skillful command of the violin, coupled with the Philadelphia Orchestra’s sumptuous accompaniment conducted by Yannick Nézet-Séguin, creates a magical synergy that will leave you breathless.

Chausson’s Poeme, Op. 25, originally conceived as a violin concerto, adds another layer of elegance to the album. Batiashvili’s soulful playing, infused with delicate phrasing and nuanced dynamics, elevates the piece to new heights. The deep emotional connection she establishes with the music is felt in every note, making it a standout performance.

Debussy’s “Beau soir” serves as a delightful interlude, displaying Batiashvili’s ability to express tender sentimentality. In this brief yet charming piece, the violinist and pianist Giorgi Gigashvili complement each other flawlessly, creating a moment of serene beauty.

One cannot ignore the personal touch in the CD notes, where Batiashvili shares her views on love and emotion, connecting each piece with heartfelt insights. This adds an intimate dimension to the album, drawing the listener into the artist’s own world of musical interpretation.

Recorded in the historic city of Philadelphia, the album boasts exceptional audio quality that captures the subtleties of Batiashvili’s performance and the orchestra’s lush accompaniment. However, some listeners may wish for a slightly more pronounced presence of the solo violin in certain moments.

“Secret Love Letters” is a remarkable addition to Lisa Batiashvili’s discography, showcasing her versatility and artistry as a violinist. The carefully curated selection of works, from Franck’s passionate Sonata to Szymanowski’s enchanting Concerto, demonstrates Batiashvili’s ability to convey a wide range of emotions through her music. With the stellar support of Giorgi Gigashvili on piano and the Philadelphia Orchestra under the baton of Yannick Nézet-Séguin, this album is a must-listen for anyone seeking an unforgettable journey through the realm of romantic classical music. “Secret Love Letters” will leave you entranced and longing for more, just like the secrets of a love letter yet to be revealed.

Charles Koechlin’s orchestral music may have been overshadowed by his chamber works in the past, but this captivating album by the Sinfonieorchester Basel, under the direction of conductor Ariane Matiakh, proves that his orchestral pieces are hidden gems waiting to be discovered. Featuring two stunning compositions, “The Seven Stars” Symphony and “Vers la voûte étoilée,” this record brings to light Koechlin’s brilliance and offers a delightful listening experience.

At the heart of this collection lies “The Seven Stars” Symphony, an imaginative and evocative masterpiece that astoundingly weaves together celestial movie stars of the past. Contrary to its celestial name, the “stars” in question are the iconic movie legends: Douglas Fairbanks, Lilian Harvey, Greta Garbo, Clara Bow, Marlene Dietrich, Emil Jannings, and the whimsical Charlie Chaplin. Each star receives a distinct and vivid characterization, capturing their essence and personalities through the music. The lively and perky “It Girl” portrayal of silent cinema’s charm or the icy and distant rendition of Greta Garbo both showcase Koechlin’s exceptional ability to depict individual personalities through his musical language. What’s even more intriguing is how Koechlin cleverly structures some of these variations based on the letters in the stars’ names, adding a creative layer to the symphony’s concept.

“The Seven Stars” Symphony resonates beautifully with any film event, making it an ideal companion for multimedia performances. Furthermore, its accessibility to a wide audience is a testament to Koechlin’s masterful composition style, which can be enjoyed by both seasoned classical enthusiasts and newcomers alike. The symphony’s emotional depth, coupled with its imaginative storytelling, ensures a captivating journey through the golden age of cinema.

The album concludes with the rich and mesmerizing tone poem, “Vers la voûte étoilée” (“Toward the Starry Vault”). This piece, akin to a celestial dreamscape, exhibits Koechlin’s affinity for impressionistic colors and textures. It bears a kinship to the works of Debussy, allowing for a seamless pairing in a concert program. Through the skillful interpretation of the Sinfonieorchester Basel, the performance is precise and subtly radiant, immersing listeners in the wondrous cosmic journey painted by Koechlin’s musical brush.

Special mention should be made of the Capriccio label’s exceptional sound engineering, which beautifully captures the orchestra’s artistry within the resonant walls of the Basel Stadtcasino. It comes as no surprise that this album has climbed the classical best-seller charts, as it unveils Koechlin’s genius and provides a truly enriching and delightful listening experience for all classical music enthusiasts. A major find indeed, and a must-have addition to any music collection.

In this outstanding album featuring Liszt’s Piano Concertos Nos. 1 & 2, as well as the Piano Sonata, Alexander Ullman, accompanied by Andrew Litton and the BBC Symphony Orchestra, delivers a performance that stands out for its remarkable musicality and finesse. Unlike some interpretations that veer towards bombastic tendencies, Ullman’s approach showcases an exquisite sense of characterisation, making this album a true gem in the realm of Liszt’s piano works.

From the outset, Ullman’s pianism in Concerto No. 1 captures the essence of this fantastical and glittering creation. His delicate touch and nuanced phrasing give life to the solo triangle, allowing it to shine with subtlety, blending harmoniously with the orchestra. As the album progresses to Concerto No. 2, Ullman masterfully handles the high-stepping and flamboyant moments, infusing them with just the right amount of swagger while maintaining an underlying elegance and poise that ensure the work retains its essential musical integrity.

Ullman’s control over the piano is simply magnificent throughout the album. His clarity of touch and finesse in handling the delicately rhetorical fioritura is awe-inspiring, and his ability to control dynamics within a trill or a run, as demonstrated in the conclusion of the First Concerto’s first movement, is nothing short of exceptional. At times, it almost seems as if he can create the illusion of a sustained note, displaying a level of technical prowess that is truly remarkable.

The B minor Sonata receives an equally impressive performance, though it may lack the same edge of originality present in the concerto interpretations. Nevertheless, Ullman’s command of the piece is admirable, leaving a lasting impression on listeners with his expressive and emotive rendition.

The orchestral accompaniment by the BBC Symphony Orchestra under the direction of Andrew Litton is solid and supportive. The ensemble delivers strong performances, allowing Ullman’s piano to take center stage and shine. Special mention goes to cellist Susan Monks and leader Stephen Bryant for their commendable solos that add depth and beauty to the overall sound.

Recorded sound quality is generally excellent, capturing the nuances and subtleties of Ullman’s piano playing. While the piano might appear slightly forward in the mix during the concertos, this only serves to accentuate the splendid details of the soloist’s performance, allowing every intricate element to receive its well-deserved spotlight.

This is a truly captivating album that brings out the best in Liszt’s challenging works. Ullman’s remarkable pianism, characterized by a fine sense of characterisation and unparalleled technical prowess, ensures that these sometimes problematic pieces are presented with elegance and brilliance. This recording is a must-listen for classical music enthusiasts, as it exemplifies the art of exquisite pianism and masterful orchestral collaboration.

Samuel Mariño’s Sopranista, accompanied by La Cetra Barockorchester under the direction of Andrea Marcon, presented a unique and intriguing exploration of the higher vocal range in classical music. Like a rare gem, Mariño’s soprano voice shines with light, brightness, and grace, offering a distinctive auditory experience that captures the listener’s attention. The album, released under the Decca label, unveils a collection of arias from various operas, some of which have been relatively unexplored, making this musical journey a fascinating one.

Mariño’s vocalism is characterized by its delicacy and expressiveness, creating an enchanting sonic landscape. His ability to convey emotion through his singing is evident, although at times, a touch more clarity in diction would have heightened the dramatic impact further. Nevertheless, his performances are consistently captivating, drawing the audience into the intricate emotions and narratives of each piece.

A standout feature of Sopranista is the inclusion of arias from lesser-known operas. Two arias from Joseph Bologne, Chevalier de Saint-Georges’ L’amant anonyme (1780), are presented for the first time on disc. The overture and arias from this opera offer a glimpse into Saint-Georges’ unique artistry and musical expression. Additionally, an aria from Domenico Cimarosa’s Oreste (1783) adds further depth and variety to the repertoire. The inclusion of these rare gems highlights Mariño’s commitment to unearthing hidden treasures from the classical canon.

One of the album’s highlights is Gluck’s “Che farò senza Euridice?” performed in the composer’s own soprano edition from 1769. The performers take a brisk tempo, infusing the aria with a sense of urgency and fervor. The decision to present Cherubino’s aria “Voi che sapete” from Mozart’s Marriage of Figaro in the male soprano range is both daring and successful. Mariño navigates this well-known piece with finesse, adding a fresh perspective to a beloved composition.

Mariño’s vocal range and dynamics are showcased throughout the album. His voice, often ethereal and delicate, is particularly captivating in the higher registers. The Oreste aria, in particular, allows Mariño to showcase his virtuosity and command of the soprano range. However, some moments in the L’amant anonyme arias could benefit from a touch more vocal presence.

Andrea Marcon’s direction of La Cetra Barockorchester complements Mariño’s performances admirably, creating a harmonious interplay between voice and orchestra. The ensemble’s period-instrument approach adds authenticity to the overall sound, transporting listeners to the era in which these works were composed.

Sopranista by Samuel Mariño is a noteworthy addition to the world of classical vocal recordings. Mariño’s soprano voice, with its distinct brightness and grace, offers a fresh perspective on familiar and lesser-known arias alike. The inclusion of rare repertoire, coupled with Mariño’s expressive delivery, ensures a captivating listening experience. While there may be areas for refinement, the album remains a testament to Mariño’s unique artistry and dedication to bringing hidden treasures to the forefront of the classical music landscape.

Beethoven’s Diabelli Variations starting point is widely known. In 1819, the Viennese publisher Anton Diabelli sent more than 50 Austrian composers a waltz of his own making, asking each of them to compose a variation to be included in a collective publication. The initiative was joined by some of the leading musicians of the time, including Czerny, Hummel, Schubert, Moscheles, Kalkbrenner, Tomasek and little Liszt. Beethoven, on his part, composed not one but 33 variations which turned to be his famous opus 120. 

In 1973, Rudolf Buchbinder recorded a double disc with Beethoven’s Diabelli Variations on the one hand and the other 52 collective variations on the other.  In 2020, for the Beethovenian anniversary, Deutsche Grammophon was the chosen label by the pianist to publish a double album, named The Diabelli Project. The project aims to repeat the story: just like Diabelli did one day, Buchbinder has commissioned new variations from several renowned current composers. Eleven were the selected artists for this important mission: Lera Auerbach, Brett Dean, Toshio Hosokawa, Christian Jost, Brad Lubman, Philippe Manoury, the late Krzysztof Penderecki, Max Richter, Rodion Shchedrin, Johannes Maria Staud, Tan Dun and Jörg Widmann. 

The interpretation of Beethoven’s Diabelli Variations is admirable, and they highlight the artist’s phenomenal mastery. His performance is always very conservative and cautious scrupulously sticking to the original score almost to perfection. There is not much innovation in terms of sound and color. It is indeed very loyal to Beethoven’s creation. 

With this album Buchbinder revalues certain composers and the brilliant quality of their work. Hearing a work by Liszt as a teenager is something priceless, but works from Hummel, Kalkbrenner, Moscheles or Kreutzer also deserve great consideration.  

Out of the 11 contemporaries, Toshio Hosokawa, Rodion Chtchedrine, and Jörg Widmann, approach the idea of ​​variation from a theme in the old sense of the genre.  And only very few (Manoury, Jost, Chtchédrine, Staud) respect the “logical” time extension of between one minute and two and a half minutes, and some of them even go over five minutes. But when the piece is as beautiful and interesting as Lera Auerbach’s or Tan Dun’s, I think we can gladly elude this fact.  

Being a disciple of the great Austro-Germanic tradition, Rudolf Buchbinder playing is emotionally reserved and is characterized by a dominant technique at the service of the composer. However, this fact doesn’t rest personality in his interpretations which can be easily noticeable, rewarding us with a powerful, bright and nuanced sound with great contrasts between forte and piano and small inflections in the musical line.  The fast tempi are brisk, and the slow ones keep the right tempo, very elegant and graceful never falling into a lethargic state.  

These interpretations full of sonic nuances and technical greatness perfectly portray the essence of Beethoven’s harsh humor. 

Klára Würtz’s rendition of Bach’s Goldberg Variations is a hidden gem in the world of classical piano recordings. With a reputation for delivering outstanding performances on seemingly unassuming labels, Würtz continues to impress with her latest release, showcasing her mastery of the piano and her deep understanding of Bach’s intricate composition.

In this recording, Würtz displays a remarkable level of sophistication, presenting the Goldberg Variations with a touch of subtlety that captivates the listener. Throughout the 77-minute performance, she diligently adheres to the original score, playing all repeats, but what truly sets her interpretation apart is her ability to maintain interest and momentum without resorting to extravagant changes in color, volume, or ornamentation between the variations.

Würtz’s brisk tempos infuse the music with an energetic spirit, which carries the listener through the variations with a consistent and engaging flow. Her attention to detail and technical prowess allow her to showcase the intricate polyphony without it ever feeling overbearing. Instead, each voice in the contrapuntal textures shines brightly, contributing to a harmonious whole that is both intellectually stimulating and emotionally satisfying.

One of the highlights of Würtz’s performance is her skillful navigation of hidden voices within the music. With a delicate touch, she brings these voices to the forefront or allows them to recede subtly, unveiling the multiple layers of the composition and revealing the complexity of Bach’s genius.

Another commendable aspect of Würtz’s interpretation is her restrained use of the pedal. She employs it sparingly, primarily as a support to the music, adding an additional layer of resonance without overshadowing the wonderful singing line that flows throughout the variations.

Würtz’s performance of the Goldberg Variations is a testament to her deep connection with the music and her ability to convey its beauty and brilliance with a sense of ease and grace. While her recordings may not always receive the fanfare they deserve, this one should not be overlooked. It stands shoulder to shoulder with the best interpretations of this timeless masterpiece, proving that Klára Würtz is undoubtedly a pianist of exceptional talent and sensitivity. Whether you are a long-time admirer of Bach’s work or a newcomer to his music, this recording deserves a place in your collection.

Lise Davidsen’s album “Grieg” is a remarkable and essential release that should be celebrated as a rare gem in the classical music world. The collection brings a unique freshness to the music of Norway’s most celebrated composer, Edvard Grieg, and showcases the extraordinary chemistry between the two Norwegian superstars – the stunning soprano, Lise Davidsen, and the renowned pianist, Leif Ove Andsnes.

From the very first note, Lise Davidsen’s voice leaves a profound impression. Her vocal prowess is immediately evident, possessing a rare combination of rich beauty, powerful strength, and grandeur. Yet, what sets her apart is the ability to scale back to the most intimate and delicate pianissimo. Davidsen’s voice serves as an instrument of expression, effortlessly conveying emotion and nuance in every phrase.

The partnership with Leif Ove Andsnes proves to be a masterstroke. Andsnes’s piano playing is a testament to refinement and sensitivity. Each note is carefully placed and voiced, avoiding any temptation to overshadow the vocal performance. While some may initially find his approach understated, it becomes clear that this subtlety allows the emotional depth to blossom, creating moments of intense power when the emotions eventually pour forth.

Decca’s engineering further enhances the listening experience, capturing the full range and magnificence of Davidsen’s voice alongside Andsnes’s exceptional playing. The result is an album that deserves a prominent place in any Grieg aficionado’s collection.

The album’s centerpiece is the Haugtussa cycle, where the artists’ approach truly shines. In “Møte” (Meeting), the turning point of Haugtussa, Davidsen and Andsnes build the tension masterfully, leading to a mesmerizing and emotionally charged climax. Throughout the cycle, Davidsen effortlessly shifts between authoritative vocals and delicate, heartfelt expressions, creating a captivating narrative.

The rest of the album maintains the exceptional standards set by the opening Haugtussa. Highlights include the late Five Songs, Op. 69, and the Six Songs, Op. 48, as well as other well-chosen selections. “A Swan” stands out with its powerful stillness, while “Jeg elsker dig” (I Love But Thee) is delivered with irresistible tenderness. The Op. 69 songs are particularly compelling, with Davidsen showcasing her impressive dynamic range, leaving a lasting impact on the listener.

Comparisons to previous recordings of Grieg’s songs are inevitable, but Davidsen and Andsnes present a compelling case for their distinct interpretation. While Anne Sofie von Otter’s Grieg recital may remain a benchmark for some, Davidsen and Andsnes bring a fresh and emotionally raw approach that captivates from start to finish.

In conclusion, “Grieg” by Lise Davidsen and Leif Ove Andsnes is a captivating and exceptional showcase of Norwegian talent. Their approach to Grieg’s music is powerful and emotionally charged, and the chemistry between the two artists is nothing short of magical. This album should be considered an outstanding release and is no less essential than other celebrated recordings of Grieg’s works.