In the age of Argerich, who brings tightrope-walker tension to chamber music, I doubt that anyone plays the Brahms piano trios with the kind of mellow lushness heard here. Katchen's conception of Brahms was large-scaled but smooth, warm without much psychological struggle. Suk was a honey-toned violinist, and although Starker was the modernist among the three, what's notable here is how perfectly in unison he is with Suk (and blissfully in tune). Decca puts the piano in the middle and the string players close up in their own channels left and right. The result is wide-screen and artificial, of course, since it makes the cello sound as loud as the piano. but the sonic effect is quite luscious.
I've saved my remarks about te interpretations for last. The Brahms trios have attracted great collaborations, and I wouldn't place this one above, say, Istomin-Stern-Rose although it runs ahead of the Beaux Art Trio, for sheer beauty of tone if nothing else. The shortcoming here is a tendency toward cautiousness; these are middle-of-the-road readings that don't capture Brahms' deepest passions. He is placed in the sun too often. But the first two trios aren't sturm and drang works. If you want large-scale performances caught in gorgeous sound, here you go.
–Amazon.com [4 stars] reviewer
Quelle mouche teutonne a donc piqué Emmanuel Chabrier ? En novembre 1880, à son retour d’un Tristan et Isolde à Munich, cet enragé du wagnérisme (comme ses amis Vincent d’Indy, Charles Lamoureux, Stéphane Mallarmé, etc.) démissionne de son emploi au Ministère de l’Intérieur et ne veut plus être que compositeur.
The late 18th century was a transcription-heavy time, and it would seem that the substitution of a flute for the violin in Mozart's sonatas for violin and piano would be the most natural thing in the world. Yet it doesn't quite work out that way in this release by French flutist Patrick Gallois and Bulgarian pianist Maria Prinz. The music makes a perfectly pleasant impression; Gallois comes from a long line of French players whose tone alone is probably worth the purchase price, and he's got a lovely way with Mozart's melodies.
Midnight Stoppers celebrates the post war blues pianists and explores how their sound had its origins in the '30s and '40s, when boogie-woogie piano and the Chicago-centric small combo “Bluebird sound" held sway. Compiled by blues authority Mike Rowe, Midnight Stoppers presents 70 masterpieces by 34 pianists, including legendary names like Otis Spann, Memphis Slim, Big Maceo, Sunnyland Slim and Albert Ammons, as well as the unsung heroes of the keyboards.
For Evgeny Kissin, recording Prokofiev's Third Piano Concerto must be déjà vu all over again, to quote noted American philosopher Yogi Berra, because every time the Russian pianist switches labels, he records the piece again. In 1985, he recorded it for RCA with Andrei Chistyakov and the Moscow Philharmonic, and in 1994, he recorded it for Deutsche Grammophon with Claudio Abbado and the Berliner Philharmoniker. In 2008 he recorded it for EMI with Vladimir Ashkenazy leading the Philharmonia Orchestra.
Voici réunie en 12 CD une intégrale magistrale de Chopin. Le pianiste franco-libanais a choisi d'enregistrer cette œuvre dans l'ordre chronologique. Le résultat crée une mosaïque impressionnante de partitions qui s'ordonnent naturellement. Ainsi, des influences perméables des unes aux autres ressortent avec pertinence depuis les œuvres de jeunesse, claires et lumineuses jusqu'à celle du Chopin révolutionnaire qui annonce déjà Debussy et une certaine atonalité.
With this two-disc set of the piano quartets, Nicholas Angelich proves conclusively that he is the best Brahms pianist of his generation. His previous Brahms recordings – a 2005 disc of the violin sonatas with Renaud Capuçon, a 2006 solo collection featuring the Paganini Variations, a 2007 solo collection of the late piano works, and a 2008 disc of the First Piano Concerto with Paavo Järvi leading the Frankfurt Radio Symphony – showed his skill in a variety of settings.