Dejan Lazic

Piano

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Life, Love & Afterlife: A Liszt Recital

Life, Love & Afterlife: A Liszt Recital


Liszt:

Hungarian Rhapsody, S244 No. 18 in F sharp minor

Csárdás (2), S. 225

Les jeux d'eaux à la Villa d'Este (Années de pèlerinage III, S. 163 No. 4)

Concert Paraphrase on Rigoletto, S.434 after Verdi's opera

Venezia e Napoli (3 pieces), S. 162

Liebestraum, S541 No. 3 (Nocturne in A flat major)

Confutatis & Lacrymosa

Isolde's Liebestod (after Wagner), S447

Phantasiestück über Motive aus Rienzi (Wagner), S. 439


Dejan Lazic (piano)

Dejan Lazic; on this, his first album for ONYX, pays tribute to a composer and his legacy as a piano virtuoso, organist, improviser, arranger, conductor, teacher, author, philanthropist and traveller. Liszt lived life to the full, and this recital captures that love of life, his genius as a pianist and composer, a traveller with a restless and curious mind. Liszt’s respect for the music of other composers is to be found in his arrangements for piano of orchestral, operatic and other vocal works. From Wagner’s operas to Schubert Lieder via Beethoven Symphonies, his deep love for the music is apparent and such arrangements gave this music a wider audience in both the salons and domestic settings that lives on today.

"Embarking on a recording project like this obviously required a substantial amount of preparation time. But once the date has come it was of a tremendous importance to capture and to honour the spontaneity of Liszt’s versatile, eclectic, and revolutionary genius", writes Dejan in his introduction to the recital, captured at a live performance at Hohenhems, and one further day in studio conditions.

“To devise a programme encompassing multiple achivement aspects of the Liszt phenomenon is one thing. To deliver it with the kind of wide-ranging musicianship that's required is another, and Dejan Lazic achieves this remarkably...The recorded sound is seamless and immaculate throughout.” BBC Music Magazine, August 2017 ****

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Beethoven: Triple Concerto

Beethoven: Triple Concerto


Beethoven:

Triple Concerto for Piano, Violin, and Cello in C major, Op. 56

Giuliano Carmignola (violin), Sol Gabetta (cello), Dejan Lazic (piano)

The Creatures of Prometheus Overture, Op. 43

Egmont Overture, Op. 84

Coriolan Overture, Op. 62


Cello superstar Sol Gabetta teams up with the celebrated musicians Giuliano Carmignola, violin, and Dejan Lazić, piano, to form a formidably talented ensemble for this new all-Beethoven recording. They will be joined by conductor Giovanni Antonini and the Kammerorchester Basel, a team who have great pedigree recording Beethoven’s works to critical acclaim.

The centrepiece of this album is Beethoven’s ‘Triple Concerto’, the Concerto for Violin, Cello and Piano in C Major, Op. 56. The choice of the three solo instruments effectively makes this a concerto for piano trio, and it is the only concerto Beethoven ever completed for more than one solo instrument.

The album also includes a number of Beethoven’s most well-known overtures. The famous Coriolan Overture features alongside ‘The Creatures of Prometheus’ and the Egmont overtures.

“Cellist Sol Gabetta, violinist Giuliano Carmignola and pianist Dejan Lazić are here something of a dream team: characterful, distinctive and focused on the same thing. They can be dynamic and crisply propulsive together, but this performance has a lightness of touch that in the finale spills over into playfulness and wit” The Guardian, 17th September 2015 ****

“Sol Gabetta [gives] a wonderfully lyrical account of the [Triple Concerto's] all-important cello role…Antonini and his Basle chamber players [are] prompt and sympathetic” Gramophone Magazine, October 2015

“full praise to the Sony production team for finding such a convincing balance, not just between soloists and orchestra, but between the soloists themselves. It all sounds wonderfully fresh and clear. So too does the perfomance. The Triple Concerto's eccentricites are joyously celebrated…[and] it isn't just the élan and lively intelligence that impress: I've rarely heard such a roundly enjoyable performance of the brief slow movement.” BBC Music Magazine, December 2015 *****

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Sonatas for Cello and Piano

Sonatas for Cello and Piano


Britten:

Sonata for cello and piano in C major, Op. 65

Prokofiev:

Cello Sonata in C major, Op. 119

Shostakovich:

Cello Sonata in D minor, Op. 40


Pieter Wispelwey (cello) and Dejan Lazic (piano)

Best Buy Classic FM

GGramophone Magazine

Editor's Choice - September 2003

Building a Library

First Choice - January 2007

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Volume 3 - CPE Bach & Britten

Volume 3 - CPE Bach & Britten


Bach, C P E:

Harpsichord Sonata in D minor, Wq. 69 (H53)

Fantasia for keyboard in D major, Wq. 117/14 (H160)

La Böhmer, Wq. 117/26 (H81)

Keyboard Sonata in E flat major, Wq. 65/42 (H189)

Britten:

Five Waltzes for piano

Holiday Diary Op. 5 for solo piano

Night Pieces (Notturno) for piano


Dejan Lazic (piano)

The word liaison can be translated in many ways: affair, affinity, connection, link, relationship, union. The CDs in the Liaisons series each feature two particular composers, enabling us to explore their musical worlds, sources of inspiration and degree of influence. At the same time, the recordings reveal their most conspicuous differences and their common denominators. Some of these composers are not often heard together (for example D. Scarlatti & Bartók or C.Ph.E. Bach & Britten). However, when time barriers and stylistic differences are put aside, many similarities may be discovered: as if the dialect is different, but the language common. On the other hand, composers who we may imagine to be very similar and easy to combine in any programme (for example Schumann & Brahms), reveal a whole new world of diversity and contrast when heard together. Through a careful choice of composers and compositions on each CD, the Liaisons series offers a bright spectrum of colours, variety and dynamic range, challenging the listener anew with every release.

The present third volume combines the very few original works for piano solo by Benjamin Britten with C.Ph.E. Bach's Prussian Sonatas. Britten's pieces, in all their minimalism, "unusual purity" (Arvo Pärt), perfect clarity and sometimes even emotionally restricted formality, contrast with the emerging Sturm und Drang atmosphere of Bach's sonatas, with their freedom and variety of structural design, lucid style, delicate and tender expression, inventiveness and extreme unpredictability. Dejan Lazic

“The modern Steinway grand seems a bit of a blunt instrument to convey the full range of Bach's individuality, but Lazic's fastidiously articulated fingerwork and his feel for CPE's cultivated waywardness are persuasive. He toys with the finale of the D minor Sonata like a precision-powered cat with a mouse, and La Bohmer positively fizzes. He also turns the pages of Britten's pungent Holiday Diary with a compelling, sometimes Puckish, narrative flair.” BBC Music Magazine, December 2011 ****

“This is Vol. 3 of Lazic's series entitled 'Liaisons' - unexpected pairings of composers who we might not necessarily expect to have much in common...Lazic's unpredictable union works surprisingly well. His feather-light despatch of the D minor Sonata's last-movement variations almost melts into the first of Britten's early Five Waltzes.” Gramophone Magazine, January 2012

“The Bach/Britten pairing is a useful one, and it does throw up some interesting similarities and contrasts, but the real pleasure resides in Lazic’s magical readings of the Britten pieces.” MusicWeb International, March 2012

“Lazic plays with palpable heart, with genuine spirit that derives entirely from the music itself, with dexterity, subtlety and insight that make this recital thoroughly compelling.” The Telegraph, 20th October 2011 ****

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Beethoven: Piano Concerto No. 4

Beethoven: Piano Concerto No. 4


Beethoven:

Piano Concerto No. 4 in G major, Op. 58

live recording

Australian Chamber Orchestra, Richard Tognetti (leader)

Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight'

Piano Sonata No. 31 in A flat major, Op. 110


Dejan Lazić (piano)

The follow-up to Dejan Lazic’s impressive, if controversial, arrangement for piano of Brahm’s Violin Concerto, and a string of critically lauded ‘Liaisons’ discs.

“Croatian pianist-composer Dejan Lazić will doubtless add to his reputation for erratic brilliance with this recording of Beethoven's Fourth Concerto...[the slow movement] is tremendous in its drama and exaltation...His Moonlight Sonata is clean, austere and breathtakingly beautiful.” The Guardian, 11th February 2011 ****

“There are plenty of surprises in this performance but on its own wayward terms it's captivating: anyone looking for a fresh, thought-provoking account of this concerto might feel minded to explore this disc...Lazić keeps everything well controlled and plays with great concentration.” International Record Review, March 2011

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Volume 2 - Schumann & Brahms

Volume 2 - Schumann & Brahms


Brahms:

Klavierstücke (6), Op. 118

Schumann:

Papillons, Op. 2

Waldszenen, Op. 82


Dejan Lazic (piano)

The new "Liaisons" Series is a double-portrait series. It always combines two composers in order to explore more thoroughly their musical worlds, the way they inspired and were inspired by, as well as to find their common denominators and bring them closer to each other. Through a thorough analysis and a careful choice of composers and their compositions on each CD, the "Liaisons" - Series offers a bright spectrum of variety and challenges the listener with every release anew. Lazic, a composer as well: his arrangement of Brahms’ Violin Concerto for piano and orchestra will see its world premiere with Atlanta Symphony and Robert Spano in October 2009.

“Lazi´c's extrovert approach is effective in Schumann: his Papillons is mercurial, while his Waldszenen is stark and dark without becoming depressive” The Guardian, 12th June 2009 ***

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Rachmaninov - Piano Concerto No. 2

Rachmaninov - Piano Concerto No. 2


Rachmaninov:

Piano Concerto No. 2 in C minor, Op. 18

Moments Musicaux, Op. 16


Although they were separated due to a period of creative despair which interrupted his work, both the second Piano Concerto and the Moments Musicaux date from Rachmaninov’s early period, during which he was active primarily as a composer rather than a pianist. This explains the character of the second Piano Concerto, which partakes of both chamber music and symphony, despite the dazzling virtuosity of the solo piano part.

Pianist Dejan Lazic was born in Zagreb, Croatia, and grew up in Salzburg where he studied at the ‘Mozarteum’. He is quickly establishing a reputation worldwide as “a brilliant pianist and a gifted musician full of ideas and able to project them persuasively” (Gramophone). The New York Times hailed his performance as “full of poetic, shapely phrasing and vivid dynamic effects that made this music sound fresh, spontaneous and impassioned”. After his recent, highly successful Edinburgh Festival recital, The Scotsman wrote: “Dejan Lazic shines like a new star”. As recitalist and soloist with orchestra, he has appeared at major venues and at numerous international festivals across Europe, North and South America, Asia, and Australia. Alongside his solo career, Dejan Lazic is also a passionate chamber musician and active as a composer. The London Philharmonic Orchestra was founded in 1932 by Sir Thomas Beecham and is recognised as one of the world’s great orchestras. The young conductor Kirill Petrenko, hails from Omsk via Austria and appointments in Meiningen and at the Komische Oper Berlin, confirms his concern for clarity and vividness in this recording as a guest conductor of the LPO.

“…Lazic's bland treatment of the famous opening bars… belies the character of the rest of the performance: the build to the first movement's climax is impressively handled… and the second and third movements are played with sensitivity and spirit. The six Moments musicaux... contain arguably the finest of Rachmaninov's keyboard music from the 19th century. ...Lazic offers some quietly unaffected playing of the odd-numbered pieces, and storms through the virtuoso even-numbers...” Gramophone Magazine, February 2009

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Volume 1 - Scarlatti & Bartók

Volume 1 - Scarlatti & Bartók


Bartók:

3 Rondos on Slovak Folk Tunes, BB 92, Sz. 84

7 Sketches, BB 54, Sz. 44

Marche funèbre from Kossuth, BB 31

(arranged for piano by the composer)

6 Danses bulgares. extr. de Mikrokosmos, Vol.VI, Sz.107

Scarlatti, D:

Keyboard Sonata K420 in C major

Keyboard Sonata K58 in C minor

Keyboard Sonata K82 in F major

Keyboard Sonata K491 in D major

Keyboard Sonata K430 in D major

Keyboard Sonata K159 in C major 'La caccia'

Keyboard Sonata K9 in D minor

Keyboard Sonata K17 in F major

Keyboard Sonata K3 in A minor

Keyboard Sonata K380 in E major

Keyboard Sonata K135 in E major


Dejan Lazic (piano)

At first sight, they appear to have nothing in common - but disregarding the stylistic elements and a difference of two centuries, you soon recognize that both Scarlatti and Bartók, are in a sense, musical architects, who as piano virtuosos were equally interested in miniature forms and inspired by folk music.

Inspired by an 18th century performance practice, where two different character pieces were executed opposite each other in pairs in contrast with each other, I experimented in both the concert hall and the recording studio with the series of pieces on this CD. I found out quickly that I heard, experienced and played both Scarlatti and Bartók’s work ‘differently’ when they were executed alternately - as if discovering hidden secrets in familiar works! This realization led to a new and fresh perspective on the style and rubato and reconsideration of rhythmic, melodic and dynamic elements. (Dejan Lazic, liner notes)

“An exciting idea this…and it works! After all, Bartók greatly admired Scarlatti: he even recorded a couple of his sonatas. Both composers were innovators and combined a strong feeling for rhythm with an audacious sense of harmony.
Dejan Lazic wastes no time in establishing his credentials as a Scarlatti player. He opens the programme with a somewhat militaristic-sounding C major piece, K420, and already it's all there – the light, resilient touch, the crisp (and often free) approach to rhythm, nimble passage- Bartók Orchestral 113 work and an obvious appreciation of subsidiary material. The last of that particular Scarlatti trio, a filigree piece in F, segues beautifully with the first of Bartók's Three Rondos on Slovak Folktunes (in C), the principal common denominator here, as so often elsewhere, the dance element.
Lazic has a very individual Bartók style; he's no literalist, as illustrated by his emphatic handling of the syncopated main motif of the last Rondo.
Again the segue from Bartók (third Rondo) to Scarlatti (the processional D major Sonata, K491) is imaginative, though the switch from the gaily skipping D major Sonata (K159) to the first of Bartók's haunting Seven Sketches is more surprising. Lazic personalises the sequence in a most compelling way. He then gently breaks their spell with Scarlatti's D minor ('Pastoral') and interestingly sandwiches a dramatic piano version (Bartók's own) of the Kossuth Funeral March between lively sonatas in F major and A minor. Perhaps the most effective segue finds the flamenco strumming of Scarlatti's K135 (E major) acting as a prelude to the first of six Dances in Bulgarian Rhythm which conclude Bartók's Mikrokosmos. Here Lazic underlines the individual character of each dance, tenderising the fourth (a tribute to Gershwin) with expressive arpeggios, and focusing the fifth's dizzying rhythmic ambiguities.
You reach the journey's end eager to start all over again – or maybe work out another Scarlatti- Bartók sequence. The potential is limitless and let's hope that that this first volume of a series called 'Liaisons' doesn't preclude a second Scarlatti-Bartók sequence.”
Gramophone Classical Music Guide, 2010

“Imaginative fantasy, whole-hearted expressiveness, compelling, dramatic performance, playing of real individuality.” Gramophone Magazine

“An exciting idea this… and it works! After all, Bartók greatly admired Scarlatti: he even recorded a couple of his sonatas. Both composers were innovators and combined a strong feeling for rhythm with an audacious sense of harmony.” Gramophone Magazine, April 2008

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Haydn English Sonatas & Beethoven Piano Concerto

Haydn English Sonatas & Beethoven Piano Concerto


Beethoven:

Piano Concerto No. 2 in B flat major, Op. 19

Klassische Philharmonie Bonn, Heriert Beissel

Haydn:

Piano Sonata No. 50 in D major, Hob.XVI:37

Piano Sonata No. 62 in E flat major, Hob.XVI:52


Dejan Lazic (piano)

Channel Canal Grande - CG06014

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Schubert: Piano Sonata No. 21 & Moments Musicaux

Schubert: Piano Sonata No. 21 & Moments Musicaux


Schubert:

Piano Sonata No. 21 in B flat major, D960

Moments Musicaux (6), D780, Op. 94


Dejan Lazic (piano)

A brilliant pianist, a gifted musician full of ideas and able to project them persuasively. - Gramophone

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