Martha Argerich has few peers in this repertoire today, and in terms of sheer spontaneity in performance she's simply in a class of her own. Chopin's concertos are early works, and they always have taken their share of abuse owing to the composer's somewhat clunky orchestration. Of course, no one ever has had anything to say against the piano part, which is marvelous and which dominates the proceedings to the point where the orchestra is pretty irrelevant anyway. What makes these performances so special is that Dutoit not only stays in the background, where he belongs, but actually manages to offer the kind of intimate support that allows Argerich to literally do whatever she wants. (David Hurwitz, classicstoday.com)
A new recording of Weber's piano concertos was obviously long overdue, and this one fits the bill more than adequately, coming as it does generously coupled with the much better known Konzertstück and in first-rate sound quality from HMV. Not the least of its virtues is the light it casts on the origins of the piano idiom of Chopin and Liszt and, in the case of the Konzertstück, on the very foundations of the romantic concerto. I wouldn't envy any historian out to determine who was responsible for which innovation in the first two decades of the nineteenth century, but certainly to hear so many fully-formed romantic textures in music dating from 1810-21 is an instructive, not to say startling, experience.
Arturo Benedetti Michelangeli's classic recordings of the Ravel G major and Rachmaninov G minor concertos have never been out of the catalog since they first appeared more than 40 years ago. Surface and style are one in this music, and the Italian pianist remains unsurpassed for his icy precision and micro-detailing. He brings pinpointed elan to Rachmaninov's sizzling cross-rhythms in the Fourth Concerto's Allegro Vivace movement, as well as laser-like concentration to the tartly lush Largo. Few have matched Michelangeli's nuance and color in the Ravel concerto, and his seamless dispatch of Ravel's "singing sword" effect in the opening movement belies the notion that you can't bend notes on a piano.
Karl Amadeus Hartmann (2 August 1905 – 5 December 1963) was a German composer. Some have lauded him as the greatest German symphonist of the 20th century, although he is now largely overlooked, particularly in English-speaking countries. A sinewy counterpoint drives much of Hartmann's music, whether in the neo-baroque piano pieces from the 1920s, or his final two symphonies. But he could also pack a considerable punch as in the Piano Sonata, inspired by the sight of a procession of concentration camp victims from Dachau.
Complete Piano Works offer listeners more clarity and detail than ever before. The expert engineers at Abbey Road Studios who remastered the original EMI recordings on Hybrid Super Audio CDs have breathed new life into these iconic catalog recordings. Each title in the Signature Collection is beautifully presented in a full-color illustrated hardback book. The liner notes explore mot only the rich music but also the story behind original LP covers. Also included are never before seen photographs of the original master tapes.
EMI invited Daniel Barenboim to record the complete series, with the English Chamber Orchestra, as conductor and soloist. The recordings were made at London's Abbey Road Studios between 1967 and 1974.
EMI celebrates the 75th birthday of one of our most acclaimed and respected contemporary composers, Steve Reich. This album includes a world-premiere recording of a new scoring of Reich's "Six Pianos", entitled "Piano Counterpoint", arranged and performed by Vincent Corver, Pianist and Co-Founder of the Composer-Endorsed London Steve Reich Ensemble.