Emmanuel Despax, the remarkable pianist, continues to leave a lasting impression with his latest release on Signum Classics, titled “Après une rêve.” This album showcases Despax’s exceptional talent and versatility, following his notable performances of Chopin Piano Concertos in chamber versions, the captivating Bach transcriptions in “Spira, Sprea,” and the delightful “Sound of Music Fantasy,” which reveals his own creative brilliance.

The disc opens with Despax’s masterful arrangement of Fauré’s iconic song “Après un Rêve” (After a Dream, Op. 7/1). The pianist’s skillful use of different registers enhances the beauty of the melody, making this rendition a true gem that sets the tone for the entire album.

During a lunchtime recital at Wigmore on July 1, 2023, Despax ingeniously placed Fauré’s piece between Poulenc and Ravel as a refreshing musical sorbet. This strategic placement allowed listeners to appreciate the excellence of Despax’s transcriptions with a fresh perspective.

Poulenc’s “Les Soirées de Nazelles” (1930-36), a rarely heard and underappreciated piece, receives a sophisticated reading from Despax. The set of character portraits of Poulenc’s friends follows a symmetrical structure, framed by two cadenzas (“Largo” and “Très large et très librement”), balanced by a “Prèambule” and “Final.” Despax’s impeccable performance breathes life into the music, surpassing previous renditions.

In a brief yet breathtaking interlude, Despax treats the audience to Debussy’s “Clair de lune” from Suite bergamasque, exhibiting a natural and impressive affinity for Debussy’s artistry.

The Liszt arrangement (extended by Horowitz) of Saint-Saëns’ “Danse macabre” proves to be an intensely pianistic delight, fully realized by Despax’s virtuosic touch and perfectly paced delivery. The piece’s transformation is astonishing, highlighting the pianist’s ability to capture its unique essence.

Cécile Chaminade’s “Nocturne, Op. 165,” a poignant salon piece, exudes an exquisite fragrance, serving as a fitting prelude to Ravel’s opulent masterpiece, “Gaspard de la nuit.” In both the recording and live performance at Wigmore Hall, Despax’s masterful pedaling enriches Ravel’s intricate textures, creating a captivating dream-like atmosphere.

The central movement, “Le Gibet,” holds listeners transfixed, while the final movement, “Scarbo,” brilliantly balances lyricism and virtuosity, with rapid repeated notes generating an electrifying energy.

As an encore, Despax performs Henri Duparc’s “Aux étoiles,” dedicated to his grandfather, Jacques. This piece concludes the album with a poignant and balanced touch, beautifully complementing the opening Fauré/Despax arrangement.

“Après une rêve” is a treasure trove of musicality, skillfully crafted by the extraordinary Emmanuel Despax. With his remarkable artistry, he takes us on a captivating journey through an enchanting world of harmonies and dreams.

If you’re into classical music, this album is a must-listen! The Philadelphia Orchestra, led by Yannick Nézet-Séguin, knocks it out of the park with their Rachmaninoff Symphony Cycle. This is the follow-up to their previous release in 2021, and boy, it doesn’t disappoint.

The second symphony is an absolute showstopper. Nézet-Séguin’s approach is nothing short of mesmerizing, as he infuses the performance with a fervently romantic spirit. The orchestra’s strings evoke an incredible richness, and their passionate playing resonates with deep emotions. The Allegro moderato unfolds at a deliberate pace, allowing the inner details of the music to shine through. Nézet-Séguin’s decision to skip a part might raise eyebrows, but with such a beautiful rendition, who could complain?

The highlight of the album, without a doubt, is the third movement. The opening clarinet solo, delivered with heart-wrenching beauty by Ricardo Morales (presumably the orchestra’s principal clarinet), captures the listeners’ hearts and never lets go. Nézet-Séguin’s artful phrasing enhances the orchestra’s burnished lyricism, creating an enchanting experience that feels utterly captivating. This is one of those rare performances that make you feel as though the music couldn’t be played any other way.

Moving on to the third symphony, Nézet-Séguin effortlessly navigates the music’s leaner orchestration and sparser style. The orchestra excels in showcasing moments of soaring melody, and the shifting dynamics from Adagio to Scherzo are handled with remarkable skill and balance. Throughout the album, the Philadelphia Orchestra’s musicians display a level of proficiency and emotional connection that is truly commendable.

‘The Isle of the Dead’ serves as a fitting conclusion to this remarkable cycle. Once again, Nézet-Séguin’s deep emotional connection to the music is evident, and the orchestra’s performance is marked by a consistent quality of sound and flexible phrasing. The atmospheric and emotionally charged rendition of this piece makes it one of the standout tracks on the album.

While drawing comparisons to legendary recordings by Ormandy and Rachmaninoff himself is inevitable, Nézet-Séguin and the Philadelphia Orchestra manage to carve their own path with a fresh perspective and modern sensibility. This Rachmaninoff Symphony Cycle is a testament to the orchestra’s prowess and dedication, making it a must-listen for classical music enthusiasts and newcomers alike.

The Rachmaninoff Symphony Cycle by the Philadelphia Orchestra, led by Yannick Nézet-Séguin, is a triumph. With masterful performances, meticulous engineering, and a profound emotional connection to the music, this album is a true gem. Yannick Nézet-Séguin and the Philadelphia Orchestra nailed it with this Rachmaninoff Symphony Cycle. If you’re a fan of classical music, don’t miss out on this one. It’s a top-notch performance that’ll leave you wanting more.

Benjamin Appl’s latest album, titled ‘Forbidden Fruit,’ promises a captivating musical journey with a twist. But hang on, there’s a catch—you might need a guidebook to navigate this adventurous experience! In the accompanying booklet, Appl himself cleverly explains that the album’s central theme weaves between “temptation and fall, prohibition and disobedience, good and evil.” Sounds intriguing, right? So, let’s dive in!

But here’s the thing: the musical content is just as fascinating as the theme itself. Appl skillfully blends lieder, songs, and melodies, taking us on a whirlwind tour through various musical landscapes—a mix of Liederabend, Parisian salon, London music hall, and Berlin cabaret. We find ourselves transported across different eras and styles, creating a musical kaleidoscope that sparks curiosity.

Now, if you’re feeling a bit bewildered by the genre-hopping, fear not! Just focus on individual pieces, like a treasure hunt. Appl’s performances are full of surprises and hidden gems.

When it comes to the lieder, Appl’s voice shines with profound gravity and delicate finesse. Three Hugo Wolf lieder enchant with intimacy, revealing his clear baritone voice and a knack for navigating mixed voice with ease. Fanny Hensel’s “Die Nonne” is a tender confession, and we can’t help but be drawn in by the emotion in his delivery.

Then, there’s Schubert—a musical fiesta among friends! “Heldenrösslein” is a carefree, youthful romp, while “Gretchen am Spinnrade” is a whisper-soft portrayal that suddenly bursts with emotion at just the right moment.

Oh, but wait—Schumann’s “Lorelei” is absolutely seductive, and you can’t help but fall under its spell. And don’t miss his captivating storytelling in Eichendordff and Schumann’s “Frühlingsfahrt”—it’s like being caught in a musical whirlwind!

Before we get too caught up in the allure, let’s explore the French repertoire. Appl’s got it all under control, showing off his timbre, pride, masculinity, and flawless diction in pieces like Reynaldo Hahn’s “À Chloris” and Debussy’s “La Chevelure.”

Feeling a little mischievous? Poulenc’s pieces have got you covered! Appl’s spirited approach to “Couplets bachiques,” “Offrande,” and “Serpent” is downright cheeky and delightful.

But hang on tight! We’ll find ourselves in a music hall, where Ivor Gurney, Roger Quilter, and Grieg invite us to revel in their fantastical world. It’s a journey of charm and amusement.

Now, as the curtain falls, Appl leaves us with the heartfelt rendition of Mahler’s “Urlicht” from his Second Symphony. It’s a moment of pure emotion, perfectly accompanied by James Baillieu’s tender piano.

So, there you have it—a musical escapade through Benjamin Appl’s ‘Forbidden Fruit.’ This album might seem like a mixed bag at first, but with a bit of exploration, you’ll uncover a treasure trove of musical delights. Allow yourself to be seduced by Appl’s enchanting voice and embrace the surprises that await you. Happy listening!

In a breathtaking display of virtuosity and cultural fusion, Joshua Bell presents his latest album, “Butterfly Lovers,” which revolves around the mesmerizing Butterfly Lovers Concerto, inspired by an ancient Chinese legend. Composed by Chen Gang and He Zhanhao in 1959, this extraordinary work originally featured a standard orchestra but has been ingeniously adapted for traditional Chinese instruments in this rendition. Collaborating with the Singapore Chinese Orchestra, Bell weaves a captivating tapestry of sound that transcends boundaries and captivates the senses.

The album commences with the Butterfly Lovers Concerto, drawing listeners into a world of hope and wonder. Bell’s masterful performance intertwines with the ethereal dizi flute, creating a sublime harmony that leaves an indelible mark on the soul. While the dizi occasionally takes a backseat, Bell’s violin soars, enveloping the audience with enchanting melodies and delicate phrases. The ensuing Allegro adds vivacity to the mix, blending gracefulness with lively energy. Bell’s virtuosic runs sparkle brilliantly, though a touch more intensity could elevate the movement further. The orchestra, perhaps cautious not to overshadow the soloist, could exude more vigor in their support.

As the album progresses, the Pesante movement reveals a harmonious balance between emotion and melody. Conductor Tsung Yeh leads the ensemble to a spirited performance, allowing Bell’s intricate fingerwork and bow control to shine in the spotlight. However, the production’s sound engineering occasionally dampens the experience, creating a cavernous ambience that compromises the expressive efforts of the performers.

In a striking revelation, the final movement revisits themes from the concerto’s beginning, leaving a thought-provoking impression. Bell’s deft shifts and slides take on an intriguing transformation, evoking the resonant tones of traditional Chinese instruments, particularly the erhu. This evocative metamorphosis adds a unique layer of depth and introspection, making for a mesmerizing musical journey.

The album’s other works, Massenet’s “Méditation de Thaïs” and Sarasate’s “Ziguenerweisen,” bring a splendid diversity to the mix. Bell’s exceptional finesse shines through in “Méditation de Thaïs,” where his supple and gentle tone dances gracefully against the lush orchestral backdrop. The orchestra, thoughtfully balanced, allows the resonant harp ostinato to engage in a delightful dialogue with Bell’s emotive lines.

Sarasate’s “Ziguenerweisen” introduces us to the presence of traditional instruments from the outset. While some may find the timbre of these instruments not fully integrated with the overall texture, Bell’s familiarity with the piece elevates the performance. Boldly handling emphatic moments, his rich and nuanced tones breathe life into the composition, creating a vivid tapestry of sound. A showcase of effortless clarity in the final section further highlights Bell’s exquisite artistry.

Despite minor inconsistencies in sound engineering and ensemble execution, “Butterfly Lovers” remains a captivating album, a testament to Joshua Bell’s consummate artistry and the power of cross-cultural musical explorations. This musical voyage of elegance and fusion showcases the violin virtuoso at his finest, captivating listeners with every bow stroke and melodic flourish.

In the realm of classical music, some performances stand as beacons of tradition, drawing listeners back to the timeless elegance of a bygone era. Elizabeth Sombart’s double album featuring Mozart’s Piano Concertos Nos 20, 21, 23 & 27, accompanied by the Royal Philharmonic Orchestra under the baton of conductor Pierre Vallet, may not shatter the boundaries of innovation, but it captivates with its exquisite refinement and a commitment to an almost-vanished style.

The orchestral landscape presented on this album may harken back to the sonorous textures of yesteryears, but this very essence is what makes it exceptional in the modern panorama. The sound, reminiscent of a period from decades past, is a refreshing departure from the contemporary. Recorded within the splendid acoustics of Henry Wood Hall, this release boasts a rich and expansive sonic experience that envelops the listener in a sonorous embrace.

What truly sets this recording apart is the remarkable synergy between Elizabeth Sombart and Pierre Vallet. The intricacies of Mozart’s music require a delicate balance between the piano soloist and the orchestra, and Sombart and Vallet achieve this with finesse. In particular, their collaborative artistry shines brilliantly in the initial transitions of the opening movements, where the piano establishes its world while engaging in a playful dialogue with the orchestra. A striking example is found in the enchanting transformation from tutti to solo in the Piano Concerto No. 21 in C major, K. 467, which unfurls with a captivating grace.

Sombart’s interpretation of Mozart’s compositions is marked by a certain restraint, a departure from the more sentimental approaches often found in these works. In the introspective Piano Concerto No. 27 in B flat major, K. 595, her rendering remains admirably straightforward, avoiding unnecessary embellishments and allowing the music’s inherent beauty to shine through. Similarly, in the Piano Concerto No. 20 in D minor, K. 466, Sombart’s interpretation sidesteps the shadow of Beethoven that sometimes looms over this piece, creating a refreshing and engaging perspective.

While some might yearn for a more impassioned and emotionally charged performance, Sombart’s choices are well-justified and in harmony with the prevailing trend toward a more authentic presentation of Mozart’s music. This approach dispenses with Romantic excesses and brings the listener closer to the composer’s original intentions.

Elizabeth Sombart’s double album of Mozart’s Piano Concertos may not venture into uncharted territories, but its inherent charm and impeccable musicianship offer a captivating glimpse into a refined interpretation of Mozart’s genius. This recording is a testament to the enduring allure of traditional performances and will undoubtedly find favor among those seeking an authentic and vibrant encounter with the timeless beauty of Mozart’s piano concertos.

Jean-Paul Gasparian’s first album with naïve is a masterful exploration of Debussy’s world, showcasing his sensitivity and artistry as a French pianist. The album features a collection of works that demonstrate Gasparian’s ability to create atmospheric and colorful landscapes with his piano, inviting listeners on an imaginative journey through Debussy’s compositions.

Gasparian’s selection of Debussy’s pieces is commendable, including the first-ever recording of the transcription of the Rondes de printemps. This choice adds a unique touch to the album, making it all the more appealing for Debussy enthusiasts and newcomers alike.

The pianist’s deep connection to the music is evident in his statement that the piano is not just an instrument, but a tool that allows imagination to wander freely—a machine that creates perceptions. He captures the essence of Debussy’s style, which is known for its evocative and impressionistic nature. With each track, Gasparian skillfully integrates the various atmospheres, colors, and timbres that define Debussy’s captivating musical world.

Gasparian’s previous releases have already highlighted his impressive technical prowess and rich musicality, and this Debussy album further solidifies his reputation as an exceptional pianist. Having trained under esteemed mentors such as Aldo Ciccolini, Jacques Louvier, Michel Belov, and Michel Dalbert, Gasparian has inherited the legacy of French pianism, and he continues to carry it forward with grace and artistry.

Throughout the album, Gasparian exhibits a delicate touch and a unique narrative style that belies his relatively young age. His interpretation of Debussy’s “Preludes, Vol. 1” and “Prints” showcases surprising depth and maturity. Of particular note is his rendition of Debussy’s “Rondo in Spring,” arranged for solo piano by Gasparian and dedicated to his wife Emma. Here, his superb virtuosity and emotive rendering leave a lasting impression.

Debussy’s compositions demand a pianist with exceptional ability and presence, and Gasparian rises to the challenge with ease. His outstanding talent places him among the brightest young pianists on the global stage, and his interpretation of Debussy’s works is nothing short of captivating.

Jean-Paul Gasparian’s Debussy: Works For Piano is a must-listen album for anyone seeking to immerse themselves in the enchanting world of Claude Debussy. Gasparian’s passionate dedication to the music, combined with his innate skill and musicality, makes this recording a true gem. Whether you are familiar with Debussy’s music or discovering it for the first time, Gasparian’s artistry will undoubtedly leave a lasting impact.

Isata Kanneh-Mason’s latest album, “Childhood Tales,” is a captivating and deeply personal musical journey that takes listeners on a whimsical exploration of fond memories and inspirations. This album stands out as her most enchanting and emotive work to date, demonstrating her mastery of the piano and the profound connections she has with the featured repertoire.

The centerpiece of the album is Dohnányi’s Variations on a Nursery Song, which proves to be a delightful opening to this musical adventure. The familiar nursery theme receives delightful and unexpected twists and turns, offering a fresh perspective on the melody. One cannot help but smile at the playful interchange between the piano and bassoon, adding a touch of humor to the composition. The Royal Liverpool Philharmonic Orchestra’s contribution to the third variation is simply awe-inspiring, sweeping listeners off their feet with buoyant and well-executed ebbs and flows. Here, Kanneh-Mason’s piano takes on a more supportive role, blending harmoniously with the dreamy character of the piece. Although her rolling arpeggios perfectly fit the mood, a bit more sparkle during Dohnányi’s delightful runs could have added an extra layer of magic. The finale radiates a Mozartean or early-Beethovenian flair, featuring a captivating opening dialogue and light, intricate textures that follow. The orchestra’s light yet pristine playing generates an exciting buzz that crescendos into a jubilant and virtuosic conclusion, leaving the audience exhilarated.

In a brilliant thematic overlap, Kanneh-Mason includes Mozart’s “Ah vous dirai-je, maman,” a delightful addition to the musical narrative. Her performance showcases her effortless fast fingerwork and impeccable ornamentation, capturing the essence of the composition. However, while her technical prowess is evident, some listeners may crave a more distinctive and personalized interpretation. The repetition of phrases, particularly in the theme, lacks sufficient variation, resulting in a somewhat two-dimensional presentation. To experience a more creatively expressive rendition, one might explore Lang Lang’s version (DG), where his imaginative articulation and dynamic choices embrace the improvisatory spirit of the piece.

“Childhood Tales” is a magical and entrancing album that invites listeners to revisit their own cherished memories and relive the joys of youth. Isata Kanneh-Mason’s exceptional pianism is evident throughout the album, but what truly sets this work apart is the heartfelt connection she establishes with each piece, allowing listeners to be drawn into her own world of reminiscence. The album’s ability to evoke nostalgia and transport audiences to a place of wonderment and innocence deserves high praise.

Bruce Liu’s latest release on Deutsche Grammophon presents a delightful rendition of Johann Sebastian Bach’s French Suite No. 5, showcasing the pianist’s thoughtful artistry and superb playing. Among Bach’s three collections of keyboard suites, the French Suites, dating from the early 1720s, may be the most subtle in charm, yet they possess an unassuming melodic lightness that captivates the listener.

In this recording, Liu delivers a wonderfully poised ‘Sarabande’ and a winning concluding ‘Gigue’, which has long been hailed as one of Bach’s most popular keyboard movements. Liu’s performances are marked by a thoughtful approach, beautifully shaping each phrase while making full use of the piano’s contrasts and phrasing possibilities. At the same time, he pays homage to the harpsichord tradition, incorporating appropriately spread chords and occasional delays between notes, reminiscent of the instrument’s distinct sound.

Liu’s treatment of first section repeats, particularly in the ‘Allemande’ and ‘Sarabande’, displays brilliant imagination, infusing these sections with a sense of fresh interpretation. It is only regrettable that he does not repeat the second sections, as his artistry shines brightest during these moments.

The pianist’s ornamentation is graceful and well-executed, although some listeners may notice a slight lack of consistency. Nevertheless, Liu’s performance of the concluding ‘Gigue’ is both pianistic and immensely enjoyable, showcasing his technical proficiency and musical flair.

Overall, Bruce Liu’s carefully conceived and superbly played reading of Bach’s French Suite No. 5 offers a vast amount of enjoyment for listeners. With his deep understanding of the music and a keen sense of expression, Liu delivers a rendition that stands out among the many recordings of this cherished composition. This album is a true testament to the pianist’s artistry and marks another successful addition to his growing discography.

In this new set of Brahms symphonies by Michael Sanderling and the Luzerner Sinfonieorchester, we encounter a solidly traditional approach to the repertoire. The recordings, part of their long-term agreement with Warner Classics, present a unique opportunity for collectors seeking a fresh perspective on Brahms’ symphonic works. However, while the orchestra’s performance showcases excellence in sound and execution, it falls short in capturing the full dramatic intensity of the compositions due to an unwavering adherence to a one-size-fits-all interpretive approach.

In contrast to other recent Brahms cycles, such as Adam Fischer’s historically informed approach, Sanderling’s readings remain rooted in traditional interpretations that harken back to earlier generations of conductors. The result is a lush and sonorous sound from the Luzerner strings, evoking memories of the great Klemperer’s recordings. The woodwinds stand out with their forward balance, and the brass adds a warm and burnished quality to the performances. The inclusion of Schoenberg’s orchestration of Brahms’ first piano quartet offers a unique touch, adding an element of novelty to this cycle.

While the technical aspects of the recording are commendable, there are some shortcomings in Sanderling’s interpretive choices. His overriding focus on achieving a beautiful sound and a consistent approach to phrasing and articulation results in performances that lack dynamic contrast and expressive depth. The music often feels rounded and lacks the sharpness and emotional intensity required to fully convey the dramatic power of Brahms’ symphonies.

The absence of awareness of changing interpretive ideas over the past several decades also hampers the performances. While historically informed practice may not be everyone’s preference, a more nuanced and varied approach would have added a greater sense of authenticity and emotional engagement to the music.

Michael Sanderling and the Luzerner Sinfonieorchester’s Brahms symphony cycle on Warner Classics offers a traditional perspective on these monumental works. The orchestra’s lush sound and excellent execution make for an enjoyable listening experience, particularly for those who prefer a historically uninformed approach. However, the lack of dynamic contrast, emotional intensity, and varied interpretation may leave some listeners wanting more depth and authenticity in their Brahms experience. Collectors seeking new insights into Brahms’ symphonies may find this recording falls short of fully capturing the dramatic and emotional richness of these timeless compositions.

Dive into the enigmatic world of “Maria Mater Meretrix,” where the spellbinding voices of soprano Anna Prohaska and the mesmerizing violin artistry of Patricia Koparchinskaja converge to create an astonishing musical exploration. This album is a daring odyssey, weaving a millennia’s worth of music, from the ancient chants of Hildegard von Bingen to the avant-garde compositions of George Crumb, into a symphonic tapestry that celebrates Woman from three profound angles.

At first glance, the eclectic track listing invites curiosity and wonder, featuring compositions from a myriad of eras and diverse composers. The artists define this musical journey as a “theoretically stringent” exploration of Woman’s essence, illustrating how different periods and styles intertwine to form a world shaped through sound.

Prepare to be enchanted by the smaller-scale pairings of works that ingeniously punctuate the larger narrative. In a captivating juxtaposition, Crumb’s ‘Return, God-Land’ from the Black Angels String Quartet (track 3) intertwines with Dufay’s Ave Maris Stella (arr. Michi Wiancko). The ethereal ambiance of Crumb’s composition, accentuated by the unique use of water-tuned glasses, cascades like a haunting waterfall. Koparchinskaja’s violin weaves a spellbinding tale, whispering, sighing, and emoting with captivating intensity. The transition to Dufay is a stroke of brilliance, as the water glasses theme finds continuity. While some initial strings hesitancy is evident, the brass section swoops in with unrestrained passion, redeeming the overall experience.

The unexpected pairing of Hildegard von Bingen’s O Rubor Sanguinis (track 13) with Haydn’s “Il Terremoto,” is a brilliant fusion of eras and tonality. Prohaska’s silken vocals illuminate the Gregorian chant, creating an entrancing cadenza that captures the essence of Woman in her myriad forms. As Haydn’s orchestral masterpiece joins in, the music elevates, evoking a sense of divine revelation. The Camerata’s impeccable playing delivers a harmonious blend of grandeur and transparency, allowing each individual part to breathe within the orchestral whole.

Throughout “Maria Mater Meretrix,” Prohaska and Koparchinskaja wield their artistic prowess with finesse and sensitivity. Their collaboration evokes a profound understanding of Woman’s essence, transcending time and space. Each composition becomes a portal into a bygone era or a futuristic dreamscape, transporting listeners on a contemplative journey through the ever-evolving musical landscape of Womanhood.

In essence, “Maria Mater Meretrix” is a thought-provoking masterpiece that dares to defy musical conventions, immersing listeners in an enigmatic expedition through the realms of femininity and its timeless connection to the world of sound. Anna Prohaska’s angelic voice and Patricia Koparchinskaja’s bewitching violin artistry intertwine to create an unparalleled listening experience. This album’s exploration of Woman’s essence resonates deeply, leaving an indelible impression that lingers long after the final note.