In their latest release, “Beethoven – Complete Violin Sonatas,” the extraordinary collaboration between Midori and Jean-Yves Thibaudet sets a new standard for interpreting these iconic works. This ambitious project marks the violinist’s illustrious career and commemorates her 40th anniversary as a professional musician. Despite being relatively new artistic partners, their chemistry shines through, creating an awe-inspiring musical journey that captivates from the very first note.

Right from the outset, the duo’s rendition of the “Spring Sonata” (No. 5) captivates with its poetic expression and impeccable attention to detail. Midori’s delicately nuanced dynamics and Thibaudet’s expert piano accompaniment weave a mesmerizing narrative. While some may favor a more overt vibrato, the duo’s decision to keep it subtle adds a layer of authenticity and intimacy to the performance. The jubilant second theme exudes an infectious energy, leaving the listener craving for more of this joyous vitality.

In the second movement, their interpretation shines with a perfect balance of simplicity and lyricism. The violin and piano communicate seamlessly, creating a musical conversation that reveals the depth of Beethoven’s genius. The Scherzo brims with delightful levity, and both artists display exceptional command, particularly evident in the thrilling staccato runs. The final Rondo, though brisk, showcases Midori’s ability to infuse the violin’s theme with a delicate nostalgia, making it an unforgettable moment in the sonata.

Turning to the No. 8 G Major Sonata, Midori and Thibaudet’s performance is nothing short of enchanting. Their collaborative brilliance comes to the forefront as they navigate through the contrasting themes with unmatched precision. Thibaudet’s pianism adds a delightful suaveness to the opening, while Midori’s violin soars with expressive phrasing and impeccable intonation. The Allegro Vivace brims with vivacity and charm, exuding a lightheartedness that sweeps the listener off their feet. This new rendition not only retains the excitement of their previous live performance but also adds a polished finesse that elevates the interpretation to new heights.

In the Kreutzer Sonata (No. 9), Midori’s technical prowess shines brilliantly, particularly in the opening with her flawless double stops. Her profound sense of contemplation imbues the solo passages with a captivating depth, setting this performance apart from others. Thibaudet’s piano, though somewhat restrained in color changes, compensates with a clarity and precision that complements Midori’s artistry perfectly. The presto section unleashes a torrent of urgency and ferocity, leaving the listener breathless, thanks to Thibaudet’s clever omission of the pedal, which adds a stark intensity to the fast runs. The F major Andante reveals yet another facet of their brilliance, with Thibaudet’s sprightly trills and Midori’s fluid passages painting an evocative picture of graceful melancholy.

The sound engineering and violin-piano balance are commendable, offering a warm and intimate listening experience that draws the audience into the heart of the performance. William Meredith’s liner notes provide valuable insights into the historical context and musical nuances of each sonata, enhancing the overall appreciation of the album.

Midori and Thibaudet’s “Beethoven – Complete Violin Sonatas” is a tour de force of musical artistry. Their interpretation showcases an unrivaled synergy that brings fresh perspectives to these timeless masterpieces. Whether you’re a devoted Beethoven enthusiast or a newcomer to classical music, this album is a must-have addition to your collection, as it redefines the boundaries of violin-piano collaborations and sets a new standard for interpreting Beethoven’s beloved sonatas.

Vilde Frang’s recent release on Warner Classics, featuring Beethoven’s Violin Concerto and Stravinsky’s Violin Concerto, presents a thought-provoking union of two distinct musical worlds. Frang’s collaboration with the Deutsche Kammerphilharmonie Bremen, under the direction of Pekka Kuusisto, breathes new vitality into these compositions, highlighting their shared penchant for dialogic interplay and animated exchange.

The unlikely pairing of Beethoven and Stravinsky initially raises eyebrows, but Frang’s decision to approach these works on a chamber scale yields a fresh perspective that invigorates their inherent qualities. Through Frang’s impeccable tonal nuances and skillful dynamic range, she seamlessly intertwines with the orchestra’s meticulously graded textures. This synergy amplifies the symphonic essence of the Beethoven concerto, defying the constraints of the ensemble’s modest size. Notably, Frang’s performance of the slow movement encapsulates a poignant moment, accentuating the significance of the radiant third theme.

A striking addition to the recording is Frang’s incorporation of her transcriptions of Beethoven’s cadenzas for the later piano version of the concerto, complete with timpani. This inclusion provides a unique lens into Beethoven’s creative choices and adds an authentic touch to the performance.

The true highlight of the album emerges in Frang’s interpretation of Stravinsky’s Violin Concerto. Together with the orchestra, she masterfully navigates the brisk tempo and intricate rhythms of the outer movements, infusing them with an animated balletic quality. The precise timing and delicate responses of both Frang and the orchestra unveil the ingenious orchestration of Stravinsky’s work, resulting in a vibrant and exhilarating sonic experience.

The third movement, titled “Aria II,” ushers in an unexpected shift in mood, delving into a realm of somber introspection. Frang and the orchestra successfully convey a tangible sense of anguish and unease, showcasing her artistic versatility and ability to convey a spectrum of emotions through her violin.

“Beethoven • Stravinsky” clearly shows Vilde Frang’s exceptional musicianship and her skill in breathing new life into well-established compositions. Through her collaboration with the Deutsche Kammerphilharmonie Bremen, these works transcend traditional boundaries, revealing an intricate web of dialogue and exchange intrinsic to the music itself. From Beethoven’s symphonic grandeur to Stravinsky’s kinetic energy, Frang and the ensemble offer a dynamic exploration that leaves a lasting impact. This recording marks another milestone in Frang’s illustrious career and is a must-listen for enthusiasts of classical music.

Mao Fujita, the prodigious 22-year-old pianist, embarks on a breathtaking musical adventure with Mozart’s complete piano sonatas in this captivating release by Sony Classical. As Fujita made his much-anticipated debut at the Verbier Festival in 2021, he fearlessly took on the monumental task of presenting five recitals solely dedicated to Mozart’s timeless compositions. Now, this remarkable journey finds its culmination in a studio recording that leaves listeners spellbound.

Throughout the album, Fujita’s unflappable mastery and profound understanding of Mozart’s language become apparent. The young pianist navigates the intricacies of each sonata with a seemingly effortless grace, delivering performances that exude nuance, expressiveness, and sheer joy in music-making.

In the C major K. 279, Fujita delights with his crisply delineated right-hand passagework, imbuing the Allegro with a sense of playfulness and exuberance. The B-flat K. 281 is equally enthralling, as the pianist effortlessly handles the ornamentation, infusing the music with delightful colors and nuances.

One of the highlights of the album is the D major “Dürnitz” sonata K. 284, particularly its extensive Theme and Variations. Fujita’s wide range of tempo changes creates a sense of unity and coherence, showcasing his interpretative brilliance. In the A minor K. 310, the pianist’s emotional depth shines through, as he skillfully balances dynamic unanimity in both hands, allowing the left-hand chords to provide a strong foundation for the dramatic first movement.

Fujita’s sensitivity to voice leading and controlled reserve in the C minor K. 457’s finale is commendable, compensating for a relatively lighter first movement. His rendition of the F major K. 332 surprises with a comfortable tempo that emphasizes the music’s rich melodic core, rather than flashy virtuosity, resulting in a refreshing and profound interpretation.

The album’s second half presents the F major K. 533/494 sonata, where Fujita’s playing evolves with a touch of emotional depth and a refined Rondo finale. The C major K. 330, B-flat K. 333, and D major K. 576 outer movements are performed with poise, control, and a measured approach, adding an intimate and introspective quality to these works.

Mao Fujita’s mastery over Mozart’s piano sonatas is awe-inspiring, and his interpretation stands strong among established reference versions. With a mesmerizing blend of technical prowess and artistic sensitivity, Fujita’s captivating journey into Mozart’s sonic universe is a must-listen for any classical music enthusiast.

As we witness the blossoming of this young artist’s career, one cannot help but eagerly anticipate the future endeavors that will undoubtedly showcase more of Mao Fujita’s exceptional talent and artistry. This album is a testament to the musical brilliance of a rising star in the classical music world.

Lucie Horsch’s latest offering, “Origins,” is an exceptional demonstration of the recorder’s adaptability, showcasing the instrument’s range and versatility across an array of musical styles. This third release under the Decca label adds to Horsch’s reputation as a boundary-pushing musician, recalling the innovative approach of Michala Petri during her years with Philips.

Recorded in the renowned studios of Hilversum’s Muziekcentrum, the album takes listeners on a captivating sonic expedition, delving into the transformations and reinterpretations of musical compositions across time. Horsch’s skillful artistry and technical finesse elevate these transcriptions beyond mere adaptations, urging us to reconsider familiar pieces through a fresh lens.

Throughout “Origins,” Horsch masterfully maneuvers through a rich tapestry of musical expressions. From Bartók’s “Romanian Folk Dances” to the resonant tones of “Hungarian Folksongs from Csik,” her collaboration with the cimbalom evokes an authentic ambiance that transcends eras. The Senegalese hues brought by kora-player Bao Sissoko add a distinctive global dimension, reflecting Horsch’s broad artistic vision and her willingness to explore diverse cultural influences.

Horsch’s nuanced interpretations come to the forefront in Debussy’s “Syrinx,” where her voiceflute playing invokes a haunting atmosphere, capturing the enigmatic essence of the piece. In “She moved through the fair,” the Renaissance tenor recorder resonates with emotional depth, infusing the track with historical significance and a sense of introspection.

The album’s highlights extend beyond the recorder’s traditional realm. Horsch’s renditions of Parker’s “Ornithology” and Piazzolla’s “Histoire du Tango – Café 1930” exhibit her remarkable adaptability, effortlessly navigating intricate ornaments and sultry rhythms. Collaborations with instruments like the bandoneón, guitar, and cimbalom further broaden the sonic palette, creating intricate interplays that showcase the recorder’s potential in unconventional contexts.

Horsch’s skill shines in her transcriptions, where she breathes new life into familiar melodies. Her take on Stravinsky’s “Three Pieces for Solo Clarinet” demonstrates the recorder’s transformative capacity, reimagining the composition with finesse and ingenuity.

“Origins” is not merely a presentation of transcriptions; it is a celebration of the recorder’s evolving role in music. Horsch’s dedication to pushing boundaries and her unique interpretations invite listeners to explore the essence of musical works in fresh and unexpected ways.

In a world of evolving musical landscapes, Lucie Horsch’s “Origins” stands as a testament to the recorder’s timeless allure and its potential for continuous reinvention. With a diverse array of instruments at her disposal and an expansive artistic vision, Horsch’s album serves as an illuminating exploration of music’s past, present, and limitless future.

Embark on a captivating musical adventure with Igor Levit’s latest album ‘Tristan,’ a stunning compilation published by Sony Classical. Renowned for his thought-provoking thematic program concepts, Levit once again delivers a collection of extraordinary musical works that leave a lasting impression.

Disc 1 begins with Liszt’s Liebestraum No. 3, but Levit’s interpretation is far from the ordinary. Stripping away the excesses of sentimentality, he presents a brisk and unsentimental performance that unveils the work’s art song origin. Levit’s unique approach sheds new light on this well-known piece, offering a refreshing and invigorating listening experience.

Henze’s ‘Tristan,’ a six-movement composition subtitled “Preludes for Piano, Tapes, and Orchestra,” takes center stage with Levit at the helm. The multifaceted nature of this work demands technical finesse and interpretive brilliance, and Levit meets the challenge with ease. As the music meanders between quiet contemplation and explosive fury, Levit navigates with suave expertise, setting new standards for this remarkable piece. The engineering perfectly captures the complexities and dynamic extremes of Henze’s scoring, allowing the Gewandhaus forces, conducted by Welser-Möst, to shine in all their glory.

While Levit’s performance of Henze’s ‘Tristan’ is undeniably exceptional, connoisseurs might also appreciate the world-premiere recording featuring pianist Homero Francesch, with the composer conducting the Cologne Radio Symphony Orchestra. Francesch’s precise detailing and close microphone placement offer a compelling alternative that resonates with equal brilliance.

Continuing the journey, Levit presents Zoltan Kocsis’ transcription of Wagner’s Tristan und Isolde Act 1 Prelude. In a departure from other interpretations, Levit embraces a deliberate pace, skillfully using pedal effects to sustain tension and draw listeners deeper into the music. His masterful handling of this work highlights his versatility as a pianist and his ability to convey intricate emotions with grace and precision.

The album takes an emotionally intense turn with Ronald Stevenson’s piano edition of the Adagio from Mahler’s Tenth Symphony. Levit’s interpretation, clocking in at nearly 28 minutes, is a poignant and harrowing experience that tugs at the heartstrings. With profound depth and harmonic intensity, Levit extracts every ounce of emotion from Mahler’s counterpoint, leaving a lasting impact that lingers long after the last note has faded.

Concluding the album is Liszt’s Harmonies du Soir, where Levit once again demonstrates his ingenuity. His refreshing approach, marked by ingenuous pedaling and phrasings that minimize sentimentality and bombast, breathes new life into Liszt’s composition. Levit’s performance makes the work sound remarkably modern, revealing hidden layers and nuances that captivate the listener.

In ‘Tristan,’ Igor Levit showcases not only his technical brilliance but also his ability to connect deeply with the music’s emotional landscapes. His audacious programming choices add depth and meaning to the album, inviting listeners on a mesmerizing journey through the diverse realms of classical music.

‘Tristan’ is an enthralling and self-recommending album that unveils the artistic mastery of Igor Levit. With each track, he takes us on a profound exploration of musical landscapes, leaving us enchanted and inspired. This album is a must-have addition to any discerning music lover’s collection, promising endless hours of musical delight and introspection.

Sheku Kanneh-Mason’s latest album, “Song,” takes us on a deeply personal musical journey, showcasing the young cellist’s growth and maturity as a musician. In contrast to his previous release, “Inspiration,” which explored works that influenced him during his formative years, “Song” delves into the musician he has become today, presenting a diverse and eclectic selection of pieces.

Right from the outset, the album establishes its focus on the expressive qualities of the cello. The opening track, a tender arrangement of the Irish tune “Star of the County Down,” sets the tone for the entire recital. Kanneh-Mason’s playing is warmly lyrical, and his emotive interpretation shines through. In the following track, his skillful use of bow strokes and vibrato in the Welsh song “Myfanwy” further emphasizes his dedication to the singing aspects of his instrument.

Throughout the album, Kanneh-Mason showcases his versatility by exploring different genres. The mercurial shifts of “Lullaby for Kamilla” are beautifully captured, while the blues-influenced harmonies in “Cry Me a River” evoke a more extroverted emotional response from both the cellist and pianist Harry Baker. The surprising success of his arrangement of Burt Bacharach’s “I Say a Little Prayer” demonstrates his ability to infuse a familiar piece with playful elegance and sweetness.

For those seeking more classical repertoire, the five-cello arrangement of Villa-Lobos’ “Prelúdio” and Beethoven’s “12 Variations on ‘Ein Mädchen oder Weibchen'” offer moments of technical fluency and artistic finesse. The velvety yet introverted coloring in the two arrangements of Mendelssohn’s “Songs without Words” and the beautifully played “Louange à l’Éternité de Jésus” from Messiaen’s “Quartet for the End of Time” further display Kanneh-Mason’s expressive depth.

While some listeners may come to the album expecting more technically demanding pieces, Kanneh-Mason’s intent is clear: he invites us into an intimate space, sharing music that has profoundly touched and influenced him. The album may not aim to impress with virtuosic brilliance, but it excels in its communicative power and the unyielding beauty of Kanneh-Mason’s playing.

Ultimately, “Song” will undoubtedly resonate with the cellist’s devoted fan base, but it also seeks to attract a broader audience by offering an engaging variety of genres. Through this collection, Sheku Kanneh-Mason shares his musical soul, inviting us to experience the emotional depth and sensitivity that have come to define his remarkable artistry.

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.