Following on from Volume 11 which has a superb Eroica Variations, Ronald Brautigam’s excellent journey through Beethoven’s complete works for solo piano continues in volume 12 with further variations. This time it’s a group from earlier in his career. The Dressler Variations were Beethoven’s first published work, and are pleasant enough though pretty light-weight stuff, as are the almost aphoristic Sechs Variationen über ein Schweizer Lied.
Rudolf Buchbinder is firmly established as one of the most important pianists on the international scene, he is a regular guest of such renowned orchestras as the Berlin Philharmonic, Vienna Philharmonic, New York Philharmonic, Orchestre National de France, London Philharmonic, National Symphony, and the Philadelphia Orchestra. He has collaborated with the world’s most distinguished conductors including Abbado, Dohnányi, Dudamel, Frühbeck de Burgos, Giulini, Harnoncourt, Maazel, Masur, Mehta, Saraste, Sawallisch and Thielemann and is a regular guest at the Salzburger Festspiele and other major festivals around the world.
“there are several reasons to shout about it…there's Shelley himself: a pianist whose quiet musicality and unobtrusive virtuosity shine through everything he touches…Throughout the set, there's a humanity to Shelley's music-making; it's particularly affecting in the B-flat Concerto, which he imbues with warmth as well as wit…this is a major new cycle, an important addition not only to the catalogue but also to Shelley's exceptionally fine discography.”
'Garrick Ohlsson’s complete survey of everything Chopin wrote for piano (including chamber music, songs, and for piano and orchestra) will delight the completist and the Chopin connoisseur. Ohlsson (who won the Chopin International Piano Competition in 1970) gives us accounts of this wondrous repertoire in weighty and commanding style, aristocratic and impulsive (but not lacking light and shade or contemplative contrasts) and, at times, very sensitive and searching. These vivid recordings were made in the second half of the 1990s and have previously appeared on the Arabesque label. They now sit very well in Hyperion’s catalogue'