_{Richard Philipps, October 2023}

The longstanding partnership between the Pittsburgh Symphony Orchestra and conductor Manfred Honeck continues to bear remarkable fruit, as evidenced by their latest release, Tchaikovsky’s Symphony No. 5. This particular album, the third featuring Tchaikovsky compositions, stands out as a shining jewel in their discography and is arguably one of the most exceptional performances of Symphony No. 5 to date.

Honeck’s approach to conducting is unabashedly romantic and deeply subjective, channeling an operatic intensity that breathes new life into Tchaikovsky’s masterpiece. One of the most striking aspects of this performance is the orchestral balance and control. The Pittsburgh Symphony Orchestra demonstrates mastery over dynamics, seamlessly transitioning between gentle harmonic underpinnings and thunderous climaxes. The brass section, in particular, shines with a rich and evocative timbre, oscillating between tender nuances and formidable power reminiscent of legendary orchestras led by luminaries like Mravinsky and Svetlanov.

Strings, often the heart of Tchaikovsky’s music, unfold with a lush and passionate lyricism, interwoven with remarkable articulation. Woodwinds, too, play a pivotal role, engaging in poignant dialogues with the strings, especially evident in the second movement. These interactions exude a sense of emotional depth that adds another layer to the overall narrative of the symphony.

Having previously recorded the fifth symphony over a decade ago, this seasoned partnership now showcases an unparalleled synergy and mutual understanding. The growth and maturity of their collaboration become palpable as the Pittsburgh Symphony Orchestra brings to life Honeck’s vision with an unparalleled finesse. Gone are the occasional moments of disconnection and uncertainty from their earlier recording; in their place stands an orchestra that navigates the score with astonishing precision and emotional depth.

A standout moment on the album is the opening of the second movement, where the orchestra sets the stage for the solo horn. Principal horn William Caballero’s rendition is nothing short of breathtaking, delivering the haunting melody with a tenderness and velvety tone that pierces the heart. Credit must be given to Reference Recordings for providing detailed liner notes that list the orchestral roster, underscoring the collective effort behind this stunning recording. The Pittsburgh Symphony Orchestra and Manfred Honeck’s latest interpretation of Tchaikovsky’s Symphony No. 5 is a true triumph. With the evolution of their collaboration evident in every note, the orchestra’s remarkable clarity, emotional resonance, and impeccable musicianship come together to create a rendition that will undoubtedly find its place among the finest performances of this iconic symphony. This album stands as a testament to the enduring power of musical partnerships and the inexhaustible beauty of Tchaikovsky’s music.

“Echo of Bach” pays homage to the genius of Johann Sebastian Bach while also exploring the creative evolution of violin music through time. Agata-Maria Raatz, a remarkable violinist, takes listeners on a profound voyage with her expressive playing and thoughtful interpretations.

At the heart of the CD lies Bach’s second Partita, which serves as a centerpiece for the album’s exploration. Raatz’s approach to the Allemanda is both serene and meticulous, unraveling its intricate melodies like a finely crafted narrative. Each note is carefully placed, allowing the movement to unfold organically, capturing the listener’s attention from the very beginning.

The Sarabanda, presented as the third movement, receives similar treatment, with Raatz’s detailed interpretation bringing out its emotional depth. The Corrente, which intervenes between the Sarabanda and the Giga, adds a lively contrast, though not without the risk of occasional detours. Raatz, however, manages to navigate these challenges, showcasing her skillful artistry.

In the Giga, Raatz’s brisk approach is complemented by a balanced presentation of her ideas. The movement’s energy is harnessed and channeled, resulting in a performance that is both engaging and technically precise. Yet, it is the grand finale, the Ciaconna, that truly stands as the scale-setting movement. Raatz’s interpretation is fluid and relaxed, and while some nuances may spark different musical ideas, her overarching vision holds the listener’s attention throughout the piece.

Prior to delving into Bach’s world, Raatz pays tribute to Johann Paul Westhoff, a lesser-known composer who likely influenced Bach’s own solo violin compositions. The exploration extends to the modern era with Ysaye’s second sonata, effectively rounding out the Bach-centric framework. Raatz’s performances of these works showcase her exceptional proficiency as a violinist, both musically and technically.

The album also features contemporary compositions, offering a refreshing perspective. “Cette âme a six ailes tout comme les Séraphins” by Xavier Dayer provides a modern echo of Bach’s Ciaconna, highlighting the timeless nature of Bach’s music. Additionally, Raatz, under the pseudonym Clara Jaz, introduces modern expressions intertwined with traditional techniques, showcasing her versatility and artistic exploration.

Raatz’s choice of the Jean-Baptiste Vuillaume violin enhances the entire experience, with its technical brilliance and rich tonal palette. The violin becomes an extension of Raatz’s musicality, allowing her to convey not only technical mastery but also a profound creative spirit.

“Echo of Bach” is an enriching and immersive album that takes listeners on a captivating journey through time, masterfully guided by Agata-Maria Raatz’s interpretive finesse and artistic innovation. With each track, Raatz invites us to witness the evolution of violin music, connecting the past, present, and future in a harmonious musical tapestry.

Upon first sight, you might question the presence of yet another CD bearing the word “project” in its title, and the fusion of Handel suites with Brahms’ Handel Variations might not immediately strike you as revolutionary. However, Seong-Jin Cho’s artistry on “The Handel Project” manages to captivate and enchant listeners with his songful pianism and insightful interpretations.

Released under the esteemed Deutsche Grammophon label, this album presents an intriguing combination of Handel suites and Brahms’ Handel Variations, resulting in a harmonious musical journey that captivates from start to finish.

The album commences with Handel’s Suites No. 2 in F major, No. 5 in E major, and No. 8 in F minor, each interpreted with Cho’s signature finesse and artistry. The F minor Suite Prélude immediately draws the listener in with its striking dotted rhythms, setting the stage for an expressive and emotionally charged musical experience. Cho’s brilliant command of the keyboard and nuanced playing breathe life into Handel’s timeless compositions, immersing the audience in a world of Baroque splendor.

Brahms’ Variations and Fugue on a Theme by Handel Op. 24 serves as a captivating contrast to the preceding Handel suites. Cho’s interpretation of the opening theme (the Aria from Handel’s B-flat major Suite HWV 434) is refreshingly energetic and vibrant, reflecting his individual approach to this beloved work. Throughout the variations, Cho skillfully navigates the intricate musical terrain, unraveling Brahms’ rich textures with remarkable clarity. His thoughtful phrasing and expressive subtleties add a touch of romantic allure to the variations, revealing the pianist’s deep connection to the music.

In the Handel/Kempff Minuet, Cho’s elegant rendition stands out, providing a tasteful departure from previous interpretations of the piece. His refined interpretation showcases a delicate interplay of melody and harmony, drawing the listener into the heart of the music.

DG’s impeccable recording quality further enhances the listening experience, capturing every nuance of Cho’s dynamic performances. The accompanying booklet offers valuable insights through an interview with the pianist, enriching the listener’s understanding of Cho’s artistic vision and approach to these masterworks.

In conclusion, “The Handel Project” by Seong-Jin Cho is a captivating and cohesive album that beautifully balances Baroque and Romantic elements. Cho’s technical brilliance and emotional depth infuse these timeless compositions with new life, creating an unforgettable musical journey for all who embark on it. Whether you are a devoted fan of Handel and Brahms or simply seeking an immersive and enlightening listening experience, “The Handel Project” is a must-have addition to your classical music collection. Seong-Jin Cho’s artistry will leave you in awe and longing for more from this exceptional pianist.

The Sphinx Virtuosi string orchestra delivers a compelling and thought-provoking musical experience in their album “Songs For Our Times.” Breaking away from traditional orchestral norms, this ensemble of 18 African American and Latino musicians performs without a conductor, infusing their music with a unique blend of cultural heritage and artistic expression. The album serves as a powerful platform to amplify voices that have often been underrepresented in the classical concert repertoire.

The program’s standout feature is the inclusion of world premiere recordings of two remarkable compositions: Valerie Coleman’s “Tracing Visions” and Jessie Montgomery’s “Divided,” both specifically crafted for the Sphinx Virtuosi. The opening track, “Global Warming” by Pulitzer Prize winner Michael Abels, sets the tone for the album with its emotive melodies and evocative orchestration. Venezuelan composer Aldemaro Romero’s “Fuga con Pajarillo” follows, drawing inspiration from the vibrant Pajarillo dance and showcasing the orchestra’s prowess in capturing diverse musical colors.

Valerie Coleman’s “Tracing Visions” is a two-movement masterpiece that delves into the complexities of societal issues. The first movement, “Till,” is a poignant reflection on the lives lost due to racism and violence, including the tragic stories of Emmett Till, Ruby Bridges, and the Uvalde Massacre victims. The somber and dramatic atmosphere is palpable, a testament to the composer’s ability to convey deep emotions through her composition. The movement transitions seamlessly into “Amandla!,” a dance-like celebration of resilience and strength, buoyed by the Zulu word’s spirit.

“Between Worlds” by Carlos Simon is a virtuosic showcase for solo violin, paying tribute to the artist Bill Traylor and exploring themes of folklore, race, and religion. The composition weaves intricate musical narratives, showcasing the violin’s expressive capabilities while honoring Traylor’s legacy.

Florence Price’s “Andante cantabile” from String Quartet No. 2 offers a moment of introspection and serenity, highlighting the orchestra’s ability to evoke a range of emotions. This performance captures the essence of Price’s composition, preserving its beauty and depth.

The heart of the album, “Divided” by Jessie Montgomery, is a response to the overwhelming sense of helplessness in a world marked by crises. The orchestra’s performance encapsulates this sentiment, moving between moments of lament and urgency. The agitated orchestral outbursts mirror the tumultuous nature of the world, resulting in a powerful musical statement.

Ricardo Herz’s “Sísifo na Cidade Grande” continues the exploration of societal struggles, drawing parallels to the mythological plight of Sisyphus. The orchestra navigates the intricate rhythms with precision, conveying the futility and determination in Herz’s composition.

The album concludes with a spirited rendition of the finale from Beethoven’s Violin Sonata No. 9, arranged by Venezuelan violinist Rubén Rengel. The performance captures the essence of Beethoven’s contrasting dynamics, from the virtuosic tarantella to the introspective interludes.

“Songs For Our Times” is a compelling journey through music that reflects the complex tapestry of human experiences. The Sphinx Virtuosi’s commitment to diversity, innovation, and emotional resonance is evident in every note, making this album a significant contribution to the classical music landscape. Through their impassioned performances, the ensemble invites listeners to contemplate the pressing issues of our times and find solace, strength, and hope in the power of music.

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.