Gramophone Magazine Editor's Choice

November 2008

Editor's Choice

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Busoni - Fantasia contrappuntistica

Busoni - Fantasia contrappuntistica

& Mozart and Liszt transcriptions


Busoni:

Fantasia Contrappuntistica

edizione definitiva

Liszt:

Fantasia and Fugue 'Ad nos, ad salutarem undam' (arr. Busoni)

Mozart:

Andantino from Piano Concerto No. 9 in E-flat major, K271 "Jeunehomme" (arr. Busoni)


Hamish Milne (piano)

Busoni was not only one of the greatest pianists of his age but also a composer and theorist of daunting intellect. His three idols were Bach, Mozart and Liszt and this disc presents two transcriptions, and—in the Fantasia contrappuntistica—a colossal re-imagining, each paying tribute to the past while reflecting Busoni’s genius as both creator and re-creator.

The Fantasy and Fugue on the Chorale ‘Ad nos, ad salutarem undam’ is undoubtedly one of Liszt’s very greatest works yet as an organ piece it could be regarded as rather inaccessible to the general concert goer. Busoni’s magnificent piano transcription allows the work access to the concert hall; it remains a mystery why the piece has not been taken up by more pianists—perhaps its time will come.

In comparison the Mozart transcription is a much more modest, though perfectly realized, piece which gives much needed repose before the onslaught of Busoni’s pianistic magnum opus, the Fantasia contrappuntistica. This work has at its heart a realization of the incomplete final fugue from Bach’s Art of Fugue but seen in terms of twentieth-century harmony. The fugal sections are preceded by a chorale arrangement and interspersed with an intermezzo and variations; Busoni then creates an entirely new fugue on four subjects which Bach is thought to have planned, though he did not live to carry it out. In this work Busoni hoped to create ‘one of the most significant works of modern piano literature’. If its daunting complexity both for pianist and listener never make it a standard of the repertoire, it is certainly one of the most imposing of piano works and in this performance Hamish Milne has certainly created a landmark in his already impressive recording career.

“Milne gives fiery, rhythmically taut readings of both big pieces, stressing their gaunt architecture while displaying admirable range of colour and touch which evokes the organ-like sonorities of the Liszt.” BBC Music Magazine, December 2008 ****

“This daunting and inspired coupling is played by Hamish Milne with an uplifting musical authority.
Indeed, aided by Hyperion's superb sound (rich and resonant throughout the entire register), you are made to realise that the Ad nos Fantasy – a massive tribute to Busoni as transcriber – is not only among his finest achievements but (as Milne suggests in his accompanying notes) transcends Liszt's original organ work and seemingly takes on a life of its own.
The central Adagio in particular has all of Liszt's obsessive and ecstatic wheeling round an idea yet is unmistakably stamped with Busoni's own intimidating power. And it is here in particular that Milne offers playing of the rarest refinement and sensitivity before launching the final fugue in a blaze of virtuosity.
Busoni's Fantasia contrappuntistica takes such music to a further extreme. Among the composer's most formidable works, its colossal range and scope tell you that Busoni's music can seem like a mighty mountain range glimpsed behind clouds. Again, Milne's performance is of an unfaltering beauty and lucidity. As an extra he sandwiches Busoni's transcription of the Andantino from Mozart's Jeunehomme Concerto between these two peaks, a rarity where Mozart's sublimity is coloured by Busoni's altogether more forbidding personality. Milne may playfully claim in his notes that he would 'like to play like Bill Evans and Ahmad Jamal and sing like Flagstad', but we should surely be mightily grateful for his own unmistakable personality.”
Gramophone Classical Music Guide, 2010

“This daunting and inspired coupling is played by Hamish Milne with an uplifting musical authority.” Gramophone Magazine, November 2008

“Hamish Milne's performance [of the Fantasia Contrappuntistica] is wonderfully spacious. He completes his disc with equally convincing accounts of two of Busoni's homages to other composers high in his personal pantheon.” The Guardian, 26th September 2008 ***

GGramophone Magazine

Editor's Choice - November 2008

Hyperion & Helios - up to 50% off

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Schumann - Dichterliebe & other Heine settings

Schumann - Dichterliebe & other Heine settings


Schumann:

Tragödie Op. 64 No. 3

Die beiden Grenadiere, Op. 49 No. 1

Abends am Strand, Op. 45 No. 3

Die feindlichen Brüder, Op. 49 No. 2

Der arme Peter, Op. 53 No. 3

Belsazar, Op. 57

Die Lotosblume, Op. 25 No. 7

Was will die einsame Träne, Op. 25 No. 21

Du bist wie eine Blume, Op. 25 No. 24

Lehn deine Wang' Op. 142 No. 2

song originally conceived for Dichterliebe

Es leuchtet meine Liebe, Op. 127 No. 3

song originally conceived for Dichterliebe

Dein Angesicht, Op. 127 No. 2

song originally conceived for Dichterliebe

Mein Wagen rollet langsam, Op. 142 No. 4

song originally conceived for Dichterliebe

Dichterliebe, Op. 48


Gerald Finley (baritone) & Julius Drake (piano)

Why another Dichterliebe recording? Because Gerald Finley has simply one of the greatest voices of his generation, and is an artist at the peak of his powers. He brings to this noble song cycle the supreme technical ability and penetrating musical understanding that characterize all his performances, whether on the concert platform, in the recording studio or on the great opera stages of the world. This is his fourth disc with collaborator Julius Drake, and the partnership has proved to be a uniquely rewarding one.

This fine recital also includes many of Schumann’s other Heine settings. The extremes of elation and despair in Heine’s poetry stimulated Schumann to write some of his most poignant and unforgettable songs. This is truly a disc to treasure.

“[Finley] brings eloquence to the text and maturity to his interpretations, but with a still youthful-sounding voice. Darker and more “bassy” of tone than Dieskau, he is especially impressive in the sardonic and bitter songs...Finley is a gripping narrator, too, in the tale of Belshazzar’s feast, and can refine his voice to the most arresting of internalised confidences in the love songs to Clara Wieck.” Sunday Times, 14th September 2008 ****

“Finley is a much less knowing, more direct performer than Fischer-Dieskau, concentrating less on precise verbal nuance (though his German diction is wonderfully clear) than on more generalised expressive contours, but the effect is still overwhelmingly powerful.” Andrew Clements, The Guardian, 5th September 2008 *****

“Doubts as to whether the world needs yet another Dichterliebe are allayed by a performance that probes the extremes of Schumann's evocation of remembered, blighted love. Gerald Finley's burnished baritone is one of the most beautiful voices to have recorded the cycle.” The Telegraph, 6th September 2008

“Finley's performance gives huge pleasure and insight…” BBC Music Magazine, September 2008 ****

“In close collusion with the ever-sentient Julius Drake, Gerald Finley gives one of the most beautifully sung an intensely experience performances on dic of Schumann's cycle of rapture, disillusion and tender regret. This is a Dichterliebe firmly in the past tense, the poet-lover achingly resigned from the outset. Singer and pianist are just as compelling in the other Heine settings here.” Gramophone Magazine, November 2008

“Isserlis's mobile, feeling but never gushing legato lines… Hough's winged, crystalline partnership.” BBC Music Magazine, December 2005

“[Finley] sings Schumann's great song-cycle with much tonal beauty and feeling, above all capturing the deep disillusion of Schumann's inspiration” Penguin Guide, 2010 edition ****

“In close collusion with the ever-sentient Julius Drake, Gerald Finley gives one of the most beautifully sung and intensely experienced performances on disc of Schumann's cycle of rapture, disillusion and tender regret. This is a Dichterliebe firmly in the past tense, the poetlover achingly resigned from the outset. Finley sings the second song, 'Aus meinen Tränen', as if in a trance, and lingers luxuriantly, even masochistically, over the remembered 'Ich liebe dich' in 'Wenn ich' in deine Augen seh''. Yet here and elsewhere some dangerously slow tempi are vindicated by the acuity of his verbal and musical responses. Where most singers end 'Im Rhein' in wistful tenderness, Finley infuses his final words with a wry bitterness. The disenchantment of 'Ich grolle nicht' is already glimpsed. In the cycle's latter stages Finley veers between numb reverie and acerbic self-dramatisation.
The birds' assuaging response in 'Am leuchtenden Sommermorgen' is magical, barely breathed, the mounting trauma of the funereal dream-song 'Ich hab' im Traum geweinet' chillingly conveyed, the dissolving vision of the penultimate 'Aus alten Märchen' relived with ineffable sadness. Adding a cutting edge to his warm, mahogany baritone, Finley imbues the final song with savage irony, before the rueful, healing close. Throughout, Drake's playing is a model of clarity and acutely observed detail (he is more attentive than most to bass-lines), epitomised in his fluid, exquisitely voiced epilogue.
Singer and pianist are just as compelling in the other Heine settings here. The church acoustic is more resonant than is ideal for Lieder, though that hardly detracts from a glorious Schumann recital.”
Gramophone Classical Music Guide, 2010

“Grotesquerie, beauty, irony, sentimentality and overwhelming passion mingle to breathtaking effect...His in-the-moment honesty is matched note-for-note by pianist Julius Drake, who partners him with a superb sense of drama and detail. It's a recital which can stand comparison with the greatest Schumann recordings.” METRO

GGramophone Awards 2009

Best of Category - Solo Vocal

GGramophone Magazine

Editor's Choice - November 2008

Building a Library

Featured - June 2010

Hyperion & Helios - up to 50% off

Hyperion - CDA67676

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Janacek: From the House of the Dead

Janacek: From the House of the Dead

Staged by Patrice Chéreau


“Presently the only DVD version of Janácek's last opera, and it's a good one - even if it doesn't match the Scottish Opera/Welsh National staging many will remember.” BBC Music Magazine, June 2008 ****

“As in all his productions and films, Chéreau's directing turns everyone into such complete and natural actors that the descriptive term "acting" seems almost redundant. Boulez… treading the finest balance, as did Janácek, between reported emotion and outright passion.” Gramophone Magazine, November 2008

“The collaboration of director Patrice Chéreau and Pierre Boulez gave rise to possibly the finest Ring Cycle on film and their partnership bears comparable fruit in this bleak, apocalyptic production of the composer's last opera.” Katherine Cooper, Presto Classical, May 2014

GGramophone Magazine

DVD of the Month - November 2008

DVD Video

Region: 0

Format: NTSC

DG - 0734426

(DVD Video)

$18.50

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Divertimenti

Divertimenti


Bacewicz:

Concerto for Strings

Bartók:

Divertimento for Strings, Sz. 113

Bjorklund, T:

Carmina

Britten:

Simple Symphony, Op. 4


Trondheimsolistene

Classical music leads the way with the world’s first Blu-ray audio disc.

A two disc set - disc one plays on Blu-ray equipment, which includes the Sony play station 3, disc two is a standard Hybrid SACD which will play on standard cd players. This is a true Hi Fi lovers dream come true!

Disc 1 - Blu-ray Exclusive High Definition Music

- 2.0 LPCM 24BIT/192 kHz

- 5.1 LPCM 24BIT/192 kHz

- 5.1 DTS HD Master Audio 24BIT/192 kHz

- 5.1 Dolby True HD 24BIT/192 kHz

- 5.1 Dolby Digital 48kHz

Disc 2 - Hybrid Super Audio-CD (SACD) 5.1 SURROUND + STEREO produced in DXD (Digital eXtreme Definition)

This compact disc looks like a normal CD and plays on all standard players and computers.

- Ordinary CD (16 BIT / 44.1 kHz)

- 2.0 DSD (2.8224Mbit/s per channel)

- 5.1 DSD (2.8224Mbit/s per channel)

TrondheimSolistene (The Trondheim Soloists) is one of Norway’s most exciting young ensembles performing on the international stage and have just completed a tour of Asia with Anne-Sophie Mutter. This album features a selection of some of the finest and most technically challenging repertoire for string orchestra. Includes repertoire by Benjamin Britten, the Polish composer Grazyna Bacewicz, the Norwegian composer Terje Bjorklund as well as Bela Bartok’s seminal work for orchestra the Divertimento.

This release will be ‘Orchestral Disc of the Month’ in the September issue of Classic fm

GGramophone Magazine

Editor's Choice - November 2008

2L - 2L50SABD

(Blu-ray Audio + SACD - 2 discs)

$26.25

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.

Strauss - Four Last Songs

Strauss - Four Last Songs


Strauss, R:

Vier letzte Lieder

Wo war ich? Tod und lebe (from Ariadne auf Naxos)

Ein schones war (from Ariadne auf Naxos)

Es gibt ein Reich (from Ariadne auf Naxos)

Verfuehrung Op. 33 No. 1

Freundliche Vision, Op. 48 No. 1

Winterweihe, Op. 48 No. 4

Zueignung, Op. 10 No. 1

Zweite Brautnacht! (from Die Ägyptische Helena)


The dream team: Renee Fleming and Christian Thielemann, today's foremost interpreters of Richard Strauss, in a brand new recording of the Four Last Songs, plus other arias and songs by R. Strauss.

Renee Fleming, the world's leading lyric soprano, records the exquisitely beautiful Four Last Songs by Richard Strauss in a brand new recording. Fleming recorded these songs once before, ten years ago before she had ever sung them live. Since then, these enduringly popular showcases for the soprano voice have become signature pieces for Fleming and a regular and much-loved part of her concert repertoire. With years of experience of live performances behind her, Fleming is ready now to revisit these works, bringing more insight, fresh interpretations and greater maturity.

She is conducted by Christian Thielemann, a renowned interpreter of Strauss. The disc also includes other Strauss scenes from his operas Ariadne auf Naxos and Die Agyptische Helena as well as Richard Strauss's songs Freundliche Vision, Verfuehrung, Winterweihe and Zueignung, several of which Fleming has sung live to critical acclaim.

“[Fleming's] voice is perfectly suited to [these 'magical late songs'] demands, less of range than of tender, expressive feeling…a must for more than merely Straussians” Anthony Holden, The Observer, 7th September 2008

“Renée Fleming's first recording of the Last Songs, made in 1996 (on RCA), was distinctly mixed. Here Christian Thielemann is a much more natural Straussian, powerful and luxuriant, and Fleming's voice has gained in distinctiveness and diction, to splendidly dramatic effect, often with a real 'float' at the top.” BBC Music Magazine, September 2008 ****

“As Fleming explains in a note, the Four Last Songs has become the work that she has performed most often. Throughout the four songs, Fleming not only lavishes every resource of tonal richness at her command, but she seems to be urging all sorts of extra details from the text. The sound is stupendous, Fleming's voice complemented by the Munich Orchestra, with Thielemann bringing out every detail in Strauss's nostalgic orchestration.” Gramophone Magazine, November 2008

“[Thielemann] gives her voice space to soar and swoop in its illimitable fashion, but refuses to indulge her much-discussed habit of dropping consonants half the time...this is a strikingly fretful interpretation that contemplates mortality with profound unease as well as resignation...Elsewhere, she gives a ravishing account of Verführung and the finest performance of Winterweihe I can think of.” The Guardian, 10th October 2008 ****

GGramophone Magazine

Editor's Choice - November 2008

Decca - 4780647

(CD)

$14.00

(also available to download from $10.00)

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. (Available now to download.)

Britten: War Requiem, Op. 66

Britten: War Requiem, Op. 66


Annette Dasch, James Taylor & Christian Gerhaher

Festival Ensemble Stuttgart, Helmuth Rilling

Britten’s War Requiem may be one of the largest and most enduring works of the 20th century. Soloists Annette Dasch, James Taylor and Christian Gerhaher, along with conductor Helmuth Rilling give a truly shattering performance of Britten’s huge choral masterpiece. This is a very welcome release presented in superb SACD sound.

“The orchestra sounds almost human in its emotional involvement, while the choral singing is of the highest order. Add the beautiful solo performances and it’s impossible to recommend this highly enough.” Classic FM Magazine, March 2009

“A wonderful performance and a most moving experience. Critically, one must keep the experience (subjective) as distant from the relatively objective facts of the performance as possible: on this occasion that wasn't very easy, or even desirable. Certainly all the elements in this complex organisation are well served. The soloists are admirable, Annette Dasch pure in tone, powerfully concentrated in style, James Taylor a tenor whose voice can respond to what is gentle and compassionate in his music as to the unsparing harshness, and Christian Gerhaher authoritative, humane and (like the others) entirely firm in his singing. The choir is fine in blend, precision and enunciation; the boys' choir, too, ideal in its embodiment of unsanctimonious sanctity. For the chamber ensemble and full orchestra, only admiration, as for the recording's producer and engineer who have dealt so well with the difficult task of keeping these elements distinct and unifying them at the same time. Above all, we must honour their conductor, whose mature guidance is everywhere in evidence.
It's the sense of unity that has distinguished this experience of the War Requiem most especially.
Rarely has it moved with such logic. That seems a strange word to use in the description of what was so deeply emotional, yet it's right. For the first time the work moved with the singleminded force of a geometrical theorem. Darkness and light, war and peace, noise and quiet are the unifying opposites throughout. The selection and sequence of Owen's poems are so wellfitting that the line – can you call it 'of argument'? – is unbroken and all goes forward to the almost painful easement of 'Let us sleep now'.
Do to try it for yourself.”
Gramophone Classical Music Guide, 2010

“A wonderful performance, and listening to it… has been a most moving experience. The soloists are admirable… The choir is fine in blend, precisions and enunciation; the boys' choir too, ideal in its embodiment of unsanctimonious sanctity. For the chamber ensemble and full orchestra, only admiration... Above all, we must honour their conductor, whose mature guidance is everywhere in evidence.” Gramophone Magazine, November 2008

“Rilling is undoubtedly an efficient choir trainer - the Festivalensemble Stuttgart manages even the trickiest passages of Britten's choral writing with suave assurance” The Guardian, 24th October 2008 **

GGramophone Magazine

Editor's Choice - November 2008

Super Audio CD

Format:

Hybrid Multi-channel

Hänssler - HAEN98507

(SACD - 2 discs)

$29.50

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Beethoven & Shostakovich - String Quartets

Beethoven & Shostakovich - String Quartets


Beethoven:

String Quartet No. 10 in E flat major, Op. 74 'Harp'

Shostakovich:

String Quartet No. 5 in B flat major, Op. 92


Atrium Quartet

For the Atrium Quartet, to couple Beethoven and Shostakovich seemed self-evident: in the realm of the string quartet, these composers dominated their respective eras, and both made an indelible mark on the history of the genre. They left a number of works with similar features; both men juxtapose strongly contrasted moods, shifting rapidly from violence to meditative inwardness, from insouciance to melancholy.

‘Moreover, it is well known that thirteen of Shostakovich’s fifteen quartets were premiered by the Beethoven Quartet, founded in Moscow in 1923. This formation had made a name for itself by performing the complete cycle of Beethoven quartets in 1927, for the commemoration of the centenary of the composer’s death. Because of the demise of its cellist, Sergey Shirinsky, it was unable to give the premiere of Shostakovich’s String Quartet no.15, which was entrusted to the Taneyev Quartet – whose cellist Joseph Levinson subsequently became the mentor of the Atrium Quartet. So, a Beethoven-Shostakovich coupling? Self-evident, no doubt about it. ’ Hélène Cao

The ATRIUM STRING QUARTET is the first Quartet from Russia which has won the two most important International Competitions for String Quartets. They first rose to international prominence in April 2003 when they won the First Prize and the Audience Prize in the London International String Quartet Competition which was held at the prestigious Wigmore Hall, when they made their debut on BBC Radio 3 with a performance of the Fifth String Quartet of Shostakovich.

“The Shostakovich… is totally engrossing. …the Atriums sustain intensity throughout the epic structures of the first and third movements while managing to hold back sufficiently to make the ultimate climaxes all the more cataclysmic.” BBC Music Magazine, October 2008 *****

“This is undoubtedly the finest recording of the Fifth Quartet to have appeared during recent years and if that of Beethoven's Harp Quartet is not of the same stature, then the smouldering pathos and visceral excitement that the Atrium draw from its slow movement and Scherzo respectively suggest that the Beethoven quartets are... hardly less ripe for further exploration. The Strium's Shostakovich, however, is a performance to treasure.” Gramophone Magazine, November 2008

“The Atrium Quartet won first prize in the 2003 London International String Quartet Competition with a gripping account of Shostakovich's Fifth Quartet – along with the Twelfth, the most wide ranging and powerfully wrought of the cycle, though among the least performed.
On their disc, unfazed by its demands, the Atrium steer a propulsive course through the Allegro – easily the most persuasively argued of Shostakovich's sonata-form movements – and effect a suspenseful transition into the Andante, whose otherworldliness is underlined by the sparing but varied use of vibrato. Nor does the finale disappoint – its initial animation and violent culmination leading to a coda whose bittersweet oblivion is unerringly captured.
This is undoubtedly the finest recording of the Fifth Quartet to have appeared during recent years and if that of Beethoven's Harp Quartet is not of the same stature, then the smouldering pathos and visceral excitement that the Atrium draw from its slow movement and Scherzo respectively suggest that the Beethoven quartets are territory hardly less ripe for further exploration.
The Atrium's Shostakovich, however, is a performance to treasure. Decently recorded, too.”
Gramophone Classical Music Guide, 2010

Presto Disc of the Week

8th September 2008

GGramophone Magazine

Editor's Choice - November 2008

A Musical Picture - up to 40% off

Zigzag - ZZT080702

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Saariaho - Notes On Light, Orion & Mirage

Saariaho - Notes On Light, Orion & Mirage


Saariaho:

Notes on Light

Orion

Mirage


Following the acclaimed 2006 song cycle Quatre Instants, the latest collaboration from star soprano Karita Mattila, and her compatriot Kaija Saariaho, is Mirage, the setting of a trance-induced incantation by the Mexican healer María Sabína (1894-1985). This recording features the work's world première performance from March 13th, 2008 in Paris. The ecstatic 15-minute piece is written for soprano, cello and orchestra, featuring cellist Anssi Karttunen and the Orchestre de Paris Orchestre de Paris under its music director Christoph Eschenbach. Anssi Karttunen performs Notes on Light, the cello concerto that Saariaho wrote for him in 2006. Also featured on this CD is Orion, the largest orchestral work Saariaho has written to date.

“Saariaho has always had an extraordinary ear for a beauty of sound, best described in terms of light. …performances have that extra edge which live recording brings.” BBC Music Magazine, September 2008 ****

“Light is the element that allies Kaija Saariaho to so many of her Nordic peers; that, plus related things such as fire, sky, eclipse and mirage, all of which feature as titles or subtitles in the three pieces recorded here. Musical textures that shimmer, scintillate, explode, darken and extinguish are her bridge between modernism and tradition, and potentially also the listener's path from familiar modes of listening into her fascinating, never vulgarly gratifying, realm of sonic imagination.
These performances from the '100”
Gramophone Classical Music Guide, 2010

“These performances… are just about ideal as introductions to Saariaho… Anssi Karttunen and Karita Mattila… combine to magical effect in Mirage, where they jointly interpret the transformations of the woman in Mexican shaman-healer María Sabina's ecstatic text (set in English). ..Orion - inspired by the mortal and cosmic aspects of the mythological hunter - deserves to figure on any short list for orchestral masterpiece of the new millennium. Kaleidoscopic orchestral colour, remote from human gesture and drama but rich in intellectual imagination, is a dimension in which Christoph Eschenbach excels, and demonstration recording quality of the kind Ondine supplies is the other notable ingredient in this compelling programme.” Gramophone Magazine, November 2008

GGramophone Magazine

Editor's Choice - November 2008

Contemporary Music - up to 25% off

Ondine - ODE11302

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Bach, J S: English Suites Nos. 1-6, BWV806-811

Bach, J S: English Suites Nos. 1-6, BWV806-811


First release of exclusive Sony Classical pianist Murray Perahia’s acclaimed recording of Bach’s Complete English Suites, previously only available on two separate albums (SK60277 and SK60276).

Presented as a double CD digipack, this attractive package contains an introductory note by Murray Perahia as well as extensive liner notes.

The initial release of these recordings garnered great critical acclaim, enhancing Mr. Perahia’s reputation as one of the greatest living interpreters of Bach’s music.

“Perahia’s performance of these six suites on the piano is a marvel of vitality and voice-leading. The vitality does not only take the form of digital impulsion and impeccable clarity of texture, but irradiates the deep and long-breathed meditations that are the sarabandes...Here, if not elsewhere in the music, intellectual and emotional intensity are indivisible: we are brought into that world of refined concentration that is Bach’s peculiar gift to us.” Sunday Times, 24th August 2008 ****

“Perahia displays with startling clarity the emotional tensions that lie within the counterpoint of each movement while never losing sight of the rhythmic vitality essential to the overall shape of each suite.” Stephen Pritchard, The Observer, 31st August 2008

“Perahia's Sarabandes are firmly etched and the Courantes propulsive. Ornaments are adventurous and he brings rhythmic drive to the quicker movements.” Gramophone Magazine, November 2008

GGramophone Magazine

Re-issue of the Month - November 2008

Sony - 88697310502

(CD - 2 discs)

$17.50

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