This is s superb account of Jewish music that not many people have ever heard of. It is Jewish art music either for clarinet and piano or arranged for them. Some pieces are arrangements of folk songs, but some are not – many compositions here are true art music and will be a revelation to many listeners. I can't recommend it enough.Daniel Pincus @ Amazon.com
SCHUBERT: SONGS WITHOUT WORDS is an elegant recital by pianist Daria Hovora and cellist Mischa Maisky that allows us to hear Schubert songs, beautifully rich as they are with the texts as sung by many of our finest singers, here solely for the instrumental line. Somehow the interplay between melody and accompaniment (always an equal partnership in Schubert's hands) is heightened by this experience. Not that the entire album is appropriated by the cello standing in for a vocalist: the opening work is "Sonata for Arpeggione and Klavier" and is one of the highlights of the CD. But just listen to the performances of 'Standchen', 'An die Musik' and 'Du bist die Ruhe' and hear the extraordinary marriage between the piano and cello, singing as beautifully as any other version. This is one of those CDs that bears keeping out for multiple listenings in the late evening.
Jeremy Beck has created a special kind of musical world; one which combines hope with a gentle sadness and nostalgia. It is the kind that you glimpse upon waking on a Sunday morning and seeing a steady rain in the garden, knowing that you can go right back to bed. Satisfying, warm inside, and with little self-pity. His Sonata for Cello and Piano No. 3 may as well have been composed looking over the drenched rooftops of Paris rather than in Cedar Falls, Iowa……
This recording is wonderful! Schiff in particular is clearly inspired, amused and transformed by the astounding young Mr. Mendelssohn. Try them yourself. If you don't smile and your pulse doesn't race a bit, you need to see a doctor as soon as possible.
The Soviet pianist Victoria Postnikova graduated from the Moscow Conservatoire in 1967. She studied at the Conservatoire under Professor Y. Fliere and completed a post graduate course under his guidance as well. In 1965 she was awarded a prize at the Chopin International Competition, later she was a prize-winner at the International Contest in Leeds (the U. K.), at the Vianna da Motta Competition in Lisbon, at the 4th Tchaikovsky Competition in Moscow. Her successful concert appearances show the music lovers her mature original art. Her repertoire is vast and diverse.
The old model for creating a hit classical recording – big-name soloist plus big-name conductor in major repertory work – is not so common anymore, but this live Brahms recording from the Staatskapelle Berlin under Venezuela's Gustavo Dudamel, with Argentine-Israeli-Palestinian-Spanish pianist Daniel Barenboim as soloist, shows that there's life in the concept yet. One could point to the virtues of pianist and conductor separately: it's a rare septuagenarian who can combine power and clear articulation of detail the way Barenboim does, and Dudamel builds a vast sweep in, especially, the Piano Concerto No. 1 in D minor, Op. 15. But it's the way that the two work together that really makes news. Chalk it up to shared South American heritage or to whatever the listener wants, but the way the orchestra and piano define separate spheres and work them together is extraordinary. Again, it is in the Piano Concerto No. 1 and its Beethovenian drama that their mutual understanding is most evident, but there is a sense of great variety powerfully unified throughout.