What a recital this must have been! Individually, both Maisky and Argerich are among the best living players of their instruments: Maisky is a big-toned, full-blooded cellist and Argerich is a recklessly impulsive pianist blessed with a flawless technique. Together, Maisky and Argerich challenge each other to even higher heights, with Maisky singing like an operatic baritone and Argerich taking ever dangerous risks.
And in this concert, Maisky and Argerich are at the top of their form, delivering performances that are, with one exception, among the most compelling ever recorded. Their Chopin sonata is far more passionate than any ever recorded: Maisky's playing makes the venerable Rostropovich performance seem restrained and Argerich's playing makes the piano part sound like the dazzling music it is, rather than a demure accompaniment to the cellist.
Their Franck sonata has more ardent sensuality than the Act I Love duet from La bohème, with Maisky making a most convincing case for the work as a cello sonata. Their encore, Chopin's youthful Polonaise brilliante, succeeds in making the piece sound like more than a virtuoso trifle. Only Maisky's overly Romantic interpretation of Debussy's cello sonata is less convincing and, even there, the brilliance of Argerich's performance cannot be denied. This is as exciting a cello/piano recital as has ever been recorded. --allmusic.com
…this is easygoing music that cajoles the ears…The performances are appropriate to the music’s softness of spirit. Adrienne Soós and Ivo Haag…have a fine sense of the music’s graciousness and sweet lyricism…these performances would be well worth hearing…warmly recommended. --Fanfare, November 2011
An innovative genius, Claude Debussy is famous for his mature ‘Impressionist’ music, though he rather disliked the term. He frequently performed four-hand piano pieces in concert, most of the works on this disc either being composed or adapted by him for this line-up.
The imaginative figuration, kaleidoscopic sonorities and moments of dazzling virtuosity found in these rarely heard works from the 1880s are a testament to Debussy’s skills both as a performer and a composer. Pianists Adrienne Soós and Ivo Haag have been a firmly-established piano duo for more than fifteen years, becoming one of the leading ensembles in Switzerland.
“Her playing carries blazing conviction at every turn, and its sheer virtuosity is breathtaking ... Vivid communication is helped by a fairly forward, resonant recording, which captures every nuance without detriment to overall perspective ... supreme in every instance, and in pretty well every department, be it refinement of sonority, accent, timing, characterization or sheer dexterity.” --Gramophone Magazine
Penguin Guide Rosette Winner
Collectors may want to know how Philips' latest incarnation of Mitsuko Uchida's 1989 Debussy Etudes differs from earlier CD issues. A 2001 reissue in Philips' "50 Great Recordings" series offered 24-bit remastering that yielded more palpable room ambience, clearer definition, and a more natural equalization of the piano than the excellent-sounding original release. The warmer, rounder impact I glean from the present "Originals" transfer appears to result from slightly beefing up the bass. Admittedly, these are hair-splitting considerations, and you can't go wrong with either reissue, but if you already own the 2001 version (my personal preference), you need not replace it.
Uchida's interpretations are distinguished by her ability to reconcile fastidious observation of the composer's markings with her acute instincts for nuance and flexibility. The first etude's burlesqued piano-practice scales are clearly articulated without ever sounding notey, while the three double-note etudes stand out for supple, ultra-secure fingerwork and ravishing tone color. Uchida's stunning dispatch of the seventh etude, "Pour les huit doigts", adds up to a master class on the subject of when and when not to pedal.
So does the pianist's vividly characterized eighth etude. Here's a case where taking interpretive liberties works to the music's benefit. For example, Debussy wants the penultimate measures sustained. However, Uchida lifts the pedal on the second to last measure so that the final cluster makes a more surprising and humorous impact. She leans into etude eleven's gorgeous polytextural writing for all it's worth, and brings sweeping ferocity to the chord/octave leaps in the final etude's outer sections. In short, Uchida's Debussy Etudes proudly retains its status as a classic, notwithstanding subsequent and serious rivalry from Florent Bouffard (Harmonia Mundi) and Ju-Ying Song (Pro Piano). Absolutely essential! [8/22/2006] --Jed Distler, ClassicsToday.com
It seems that at some point DG made some of its best recordings with the Boston Symphony and a wide variety of guest conductors: Abbado, Tilson Thomas, Steinberg, Bernstein, and Jochum. The performances collected here are wonderful. The BSO has always been acclaimed in French repertoire, and at this point in his career Abbado had not yet turned into the fussy micromanager that he is now (at least most of the time). And Scriabin also is French, to the extent that he’s anything at all.
This version of the Nocturnes is certainly the best by this orchestra, and one of the best by anyone. Consider the opening of Fêtes: perfect tempo, ideal transparency of texture, and bright trumpets that provide power without stridency (sound clip). These qualities grace the two Ravel items equally, and work equally well. The Daphnis Second Suite, alternately poetic and exciting, with its chorus parts intact, also ranks with the best on disc.
As for the Poem of Ecstasy, a work you either love or hate, it proceeds in a seamless arch of opulent excess, from mysterious opening to the concluding blast of sound. DG’s remastered sonics are very good–not state of the art for today, perhaps a touch dry, but a slightly lean sonority suits the music well, even the Scriabin (especially if you have a low tolerance for schmaltz). A great collection. --David Hurwitz, ClassicsToday.com
“[Immerseel] sees beyond the mere timbre itself and looks to the bristling impact that the music must have made when it was new...the freshness of Debussy's imagination is underlined by performances that have a strong dramatic impulse inflected with all manner of expressive subtleties that bring the music to life...Anima Eterna's disc approaches it with a compellingly rejuvenated outlook.” --Gramophone Magazine, February 2013
“Van Immerseel's approach can seem a bit too deliberate; there's something ponderous about Prélude à l'Après-Midi...it's the orchestral Images that gains most from the brighter, rawer colours of this performance, with the myriad subtleties of Debussy's scoring more beguiling than ever.” --The Guardian, 1st November 2012 ****
“Woodwind, brass and strings are highly individuated: the solo flute is blanched in tone, the trombones broad and warm. For sound alone, it is a fascinating experiment, though van Immerseel’s tempi are somewhat indulgent.” --The Independent on Sunday, 25th November 2012 ****
"Put on your headphones, close the door and soak in these direct-connection performances of Schumann, Brahms, Debussy and Shostakovich by pianist Grimaud and cellist Gabetta. This is terrific." --Mercury News, September 2012
". . . the duo's playful work on Schumann's "Drei Fantasiestücke" bears out both Grimaud's assessment and the pair's shared sensibilities. Brahms' Sonata for Piano and Cello No.1 in E minor, though possessed of more gravitas, is more lightly dealt with than I've heard before, while they bring a questing spirit to Debussy's Sonata for Cello and Piano in D minor,
Gabetta's robust pizzicato work in the second movement and Grimaud's animated runs in the closing section both evoking the early jazz influence of the late Romantics." --Independent, October 2012
Helene Grimaud (piano) & Sol Gabetta (cello)
Two of today's most passionate and inspirational artists join forces in the recital programme that brought audiences to their feet at the Menuhin Festival in Gstaad in Summer 2011. The chemistry between Hélène Grimaud and Sol Gabetta left critics and audiences nothing short of euphoric and this first duo recording captures the revelatory magic of their collaboration
The album reprises the same programme the duo performed in Gstaad:
Robert Schumann’s Fantasiestücke, Claude Debussy’s Sonata for Cello and Piano in D minor, Johannes Brahms Sonata for Cello and Piano No.1 in E minor and Dmitri Shostakovich’s Sonata for Cello and Piano.
Hélène’s recordings have been best-sellers on the Yellow Label with more than 800,000 units sold altogether to date. Sol is also a best-selling, chart-storming artist, who is regarded as one of the great cellists of our day.
“This is a marvellously inventive collection...There has been a tendency towards more red-blooded performances of Debussy's String Quartet in recent years...The Brodsky Quartet partially fit that mould...Their playing is tempered, both in the Quartet and the Reverie, by a quivering texture in more hushed moments” --BBC Music Magazine, June 2012 ****
“Altogether a satisfying and unique Debussy coupling, superbly played...What is so striking about the playing of the Brodsky Quartet throughout is their brimming love for the music, with some ravishing shading down to the most hushed pianissimos. All this is caught in wonderfully rich and transparent sound, a credit to the Chandos engineers.” --Gramophone Magazine, June 2012
“In the Piano Trio Bavouzet enjoys the spotlight with some memorable pearliness of tone, and here violinist Daniel Rowland is joined by cellist Jacqueline Thomas in a performance notable for its warmth and luminosity...the natural-sounding acoustic does much to enhance the listener's experience.” --International Record Review, May 2012
The Borodin Trio was formed after the three members emigrated from the Soviet Union in 1976. Since that date, they have established themselves as one of the best piano trios of our generation, having played in all the major cities of Europe and America, as well as making a tour of Australasia.
"The Borodin Trio play it with commitment and charm and Chandos's rich recording suits its overall mellow style." --Gramophone Magazine
This disc received 1996 Grammy nominations for "Best Classical Album" and "Best Orchestral Performance."
If you felt that there were icebergs and penguins in Boulez's 1967 La mer (CBS, 11/87—nla), was the pervasive chilliness intended by Boulez, or the result of the CBS sound—glittering, hard, selectively miked and bass-light? Mainly the latter, I suspect. The DG is as warm and full as you could wish, marginally more recessed than the first issue in this new series (Images, etc., 9/92), with perhaps a little added reverberation (Cleveland's Masonic Auditorium sounding more like Boston's Symphony Hall).
The endings of both outer movements of La mer bring sound of astonishing power and focus, with a spectacular gong (Boulez takes the cornet triplets in the finale's last pages—like Munch and Tortelier—but does not reinstate the deleted fanfares from four after fig. 59).
Only the harps are less than ideally clear, and one could criticize isolated moments of balance: for example, the four horns in La mer's first movement make a crescendo from mf (at 3'02) but are dwarfed in scale by the solo violin (marked pp) that enters 13 seconds later.
It is characteristic that dawn in Boulez's La mer breaks with a clear distinction made between the differing rhythm of the divided cellos in the third and fourth bars (without obviously violating the pp markings); a point at which Karajan's cellos, in his 1964 mid-price recording, remain shrouded in mist, though Karajan's basses establish greater depth, and his tempo suggests more movement. No one, I would submit, is the equal of Karajan in 1964 as a colourist in this score, although few have had the Berlin Philharmonic's rich and varied palette to deploy on it. And very few are Karajan's equal in relating Debussy's detailed tempo indications. Boulez's speed for Jeux de vagues was, and still is, too leisurely by half, and the orchestra seems to be here—untypically—on auto-pilot. At this basic tempo, and with this orchestra, Debussy's animatos in the movement's first half positively invite risking. No such luck! Previous generations such as Coppola, Ansermet, Monteux, Munch, Reiner and Karajan would risk the high-speed, blink-and-you-miss-it dash and splash; many of today's conductors (Dutoit and Haitink excepted) play safe. Boulez does at least forge ahead in the middle of the second half's gathering wave (from 5'10)—where Solti in his remake was disappointingly steady—but it is too late.
For the remaining 56 minutes of music-making on this disc, I have nothing but praise. Boulez conducts Jeux with obvious authority and passionate urgency, exposing and (more importantly) giving expression to features such as the doux divided cellos from six before fig. 8 (1'41), but without lingering unduly in its moments of fantasy and sophisticated sensuality (cf. Rattle). In the clarinet Rapsodie and Nocturnes there is a quite fabulous subtlety and variety of pace, texture and colour. From the latter, Nuages is more mobile than is common, while its second half's un peu anime is actually, and very effectively, slower; and Fetes is rather more gentle than usual (with a perfectly judged distance for the trumpets at the start of the central procession). Boulez greatly varies the vowels from phrase to phrase in the chorus's vocalise in Sirenes, sometimes within a phrase, from bouche fermee to ooo and aaa, in a manner that is both haunting and hypnotic, and which is entirely consistent with the music's dynamic. Fortunately, the Cleveland ladies' pitching is beyond criticism. There is also a grace and poise about this singing and playing that is missing from the higher-powered Solti. The 20-odd years of Boulez's experience with the work show, too, in his now more moderate slowings and suspensions.
Though Gervase de Peyer's clarinet remains treasurable in the older CBS recording of the Rapsodie (4/71—nla), Franklin Cohen is more than a match. In every other department—interpretation, orchestral playing and recording—Boulez's first CBS Debussy recordings are completely outclassed. --Gramophone Magazine
“Ashkenazy père et fils… clearly having much fun, especially in Rapsodie espagnol, drawing a wide range of colour, and some wonderfully delicate shading.” --BBC Music Magazine ***
“Father and son join forces here with winning élan. Vladimir Ashkenazy is one of the great pianists of modern times, with a legacy of landmark solo and concerto recordings to challenge anybody’s. His son Vovka has inherited the genes and, on disc, has collaborated in performances of chamber music by Tchaikovsky, Arensky, Poulenc and Ravel.” --The Telegraph ****
Vladimir Ashkenazy seemed intent on recording everything in the standard repertoire when he was at the height of his solo piano career in the 1970s. Inevitably, critics would arise to express doubt that one musician could cover so much material so fast, and get it right. One of his contemporaries, the even more prolific conductor Neville Marriner, heard the same complaints. For this listener, the charges do not really hold up in either case. I will admit that there are few cases where I would choose a recording by these artists for my desert-island collection (you know, that wonderful island that happens to be equipped with a state of the art, solar-powered stereo system), even as I continue to marvel at their consistent level of excellence. I think I would be perfectly happy, though, to have Ashkenazy’s Chopin on the island, which, by virtue of his extraordinary dexterity, clarity, and natural pulse is as good as any other. It is true that Ashkenazy can “prettify” some music, Beethoven, for example, but that may be partially due to the naturally beautiful finish to his technique.
With this program of Debussy and Ravel, it is hard to make the music too pretty. The Ashkenazy sound suits this lush, delicately textured music well. This is my first encounter with the son of famed Vladimir. Vovka Ashkenazy was born in Moscow, and moved to Iceland with his family at the age of six. His teachers included Leon Fleisher, Peter Frankl, and his father. His brother Dmitri is also a professional pianist. From what I can tell, his growing discography is dominated by chamber music playing, including a previous father and son outing, also from Decca. It is not easy to differentiate between the pianists on this recording, which can be taken as a high compliment to Vovka Ashkenazy. They achieve a high level of clarity and precise coordination, just the ticket for a four-hand piano recital. The closer, La valse, is no less controlled, but with the requisite raucousness to show that the Ashkenazy family knows how to have some fun. --FANFARE: Peter Burwasser
“Vividly captured in a warm acoustic, Queyras and Tharaud's is an intimate approach which exactly suits the two short sonatas of Debussy and Poulenc, the former with its abrupt changes of direction and unpredictable mood swings, the latter brimful of Poulencian wit and, not surprisingly as it was sketched in 1940 (completed in 1948), replete with some self-plagiarising from Babar. These are fine accounts, the programme made even more attractive by the inclusion of the seven short movements of Poulenc's Suite française (1935) based on 16th-century dances by Claude Gervaise. It's a charmer. Apart from this, there are five other short works by the two composers making a truly delightful whole.” --Gramophone Classical Music Guide, 2010
Debussy and Poulenc made a lasting impact on the musical identity of their country through both their references to the past and their innovations.This programme illustrates their vision of a certain esprit français: moving constantly between irony and emotion, extremely refined, yet at the same time offering an amplified echo of 'light' music - in short, the 'exquisite bad music' the creator of Les Mamelles de Tirésias prided himself on writing. Jean-Guihen Queyras and Alexandre Tharaud, upcoming interpreters of the young generation in France, have already made several recordings together and frequently programme these works in concert.Their recording of Schubert's Arpeggione Sonata was a Gramophone Editor's Choice.
"I got to know the Poulenc sonata, thanks to Alexandre, who I believe (although I haven't yet managed to make him admit it) must have learnt to play this music before he started walking; it just seems to flow from his fingers as if it were second nature." J-G Queyras
Long a soloist with the Ensemble Intercontemporain, Jean-Guihen Queyras was profoundly influenced by working with Pierre Boulez. His discography, distinguished by a musical eclecticism, includes works by Haydn (on period instruments) as well as Dvorák and 20th-century composers. He has premiered concertos by Ivan Fedele, Gilbert Amy, Bruno Mantovani and Philippe Schoeller (Wind's Eyes), some of which will be recorded for harmonia mundi in late 2008. Alexandre Tharaud devotes a large part of his activity to chamber music. His recording of Schubert's Arpeggione Sonata with Jean-Guihen received unanimous critical acclaim. An enthusiastic advocate of contemporary music, he premiered Thierry Pécou's cycle Outre-Mémoire, as well as his concerto L'Oiseau innumérable (HMC901974, July 2008). His recital programmes 'Hommages' intersperse harpsichord pieces by Rameau and Couperin played on the piano with tributes by living composers.
“The interpretation of the Debussy Quartet has sinew and propulsion, with that apt shading of dynamics and subtlety of nuance that have become hallmarks of the Arcanto's distinctive and distinguished style. Delicacy and fluency are equally embraced in this commanding performance, as they are in the Ravel” --Gramophone Magazine, November 2010
“A "super-group" among quartets, with each player an established soloist, the Arcanto Quartet's intonation is faultless, its blend fresh and exciting.” --The Independent on Sunday, September 2010
“Right at the start, the performance of the Debussy quartet is a striking example of the Arcanto’s skill and stylistic perception. The playing has muscle, incisiveness and drive, tempered by delicacy of nuance...It is a riveting disc – a further manifestation of the Arcanto’s blend of finesse, flair and probing intelligence.” The Telegraph, 20th August 2010 *****
“With their velvet tone the starry Arcanto Quartet prove ideal performers. Often the heartbeat is in the cello (Jean-Guihen Queyras, exceptionally eloquent); but whoever throbs, the music soars...A lovely disc.” The Times, 28th August 2010 ****
“…Nelson Freire… confesses to a special empathy for Debussy… and you will be hard pressed to find a recital of comparable warmth, affection and finesse. When you have heard "Voiles" gives with a greater sense of mystery… or witnessed playing throughout Book 1 of the Préludes more delicate, rapt and precise? Clair de lune, added, as it were, as an encore, is dreamy and magically remote...” --Gramophone Magazine, April 2009
“Nelson Freire, the legendary Brazilian pianist and longtime musical partner of Martha Argerich, turns to Debussy. In the accompanying notes he confesses to a special empathy for Debussy and you will be hard pressed to find a recital of comparable warmth, affection and finesse.
Here, there is no need for spurious gestures and inflections; everything is given with a supreme naturalness and a perfectly accomodated virtuosity that declare Freire a master pianist throughout. When have you heard 'Voiles' given with a greater sense of its mystery or witnessed playing throughout Book 1 of the Préludes more delicate, rapt and precise?
There is lightly worn fantasy and expertise in 'La sérénade interrompue' and the direction Profondément calme (dans une brumedoucement sonore) is distilled into something close to perfection. Always Freire 'evokes rather than spells out' and has one every heard a more subtle or engaging way with 'Dr Gradus ad Parnassum' (from the Children's CornerSuite). Clair de lune, added, as it were, as an encore, is dreamy and magically remote, making you long for further Debussy from this artist. Decca's sound is warm and brilliant.” --Gramophone Classical Music Guide, 2010
“the interpretations catch the ear with their blend of subtle phrasing, polish and unanimous zest...A group of charming solo piano miniatures by Massenet complements and at times connects with the styles of Debussy and Ravel, and Bavouzet plays them beautifully.” --Gramophone
“The ebullient French pianist Bavouzet scales the heights in this splendid and generous CD with the BBC Symphony Orchestra...The G major bounces along, though, with reflective asides not forgotten. In the Concerto for Left Hand, Bavouzet winningly balances the grandiose and jazzy.” --The Times ****
“[Bavouzet] turns in a performance of the Fantaisie that illuminates this uneven yet magical work like no other. As to the Ravel concertos, I have no hesitation in saying these are the greatest performances I have ever heard. The G major is a sharp as a razor, achingly lyrical when required and, above all, fun...The 'Left Hand', helped by Tortelier's incisive conducting is simply awe-inspiring.” --Classic FM *****
'PICK OF THE MONTH' - BBC MUSIC MAGAZINE CRITICS' CHOICE - FANFARE
'It's a lovely recital; I've never been so convinced that the Debussy's worth hearing, and the Ravel is full of delicate delights.' --BBC Music Magazine
'Beautifully wrought performances. Rendered with natural empathy and graceful ensemble-playing, the Florestan’s playing is quite glorious' --Fanfare, USA
'A delightful grouping of French trios from the Gramophone Award-winning Florestan's, who breathe fresh life into these works ... top of my list.' --Gramophone
'Such flair proves the Florestan Trio, if proof is needed, to be among the finest chamber ensembles of the present day. Outstandingly imaginative performances, finely recorded' --Classic CD
