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Wanderer Without Words
Juliette Journaux
Classical - Released September 29, 2023 | Alpha Classics
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Schubert
Khatia Buniatishvili
Solo Piano - Released March 15, 2019 | Sony Classical
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5 Sterne Fono Forum Klassik
Recordings of Schubert's swan song in the piano sonata genre, the Piano Sonata in B flat major, D. 960, are abundant, and Georgian pianist Khatia Buniatishvili deserves credit for trying something well out of the mainstream. This said, your reaction to the album may correspond to your general orientation toward iconoclasm. Buniatishvili's approach has the virtue of being coherent: she plays Schubert in a Lisztian way, and to underscore this she wraps up the program with Liszt's transcription of the famed song Ständchen, from the Schwanengesang cycle, D. 957. The four Impromptus of Op. 90 strike a nice balance between pianistic freedom and the intimate dimensions of these pieces; sample the final A flat major piece to hear the strongest argument for what Buniatishvili is doing here. She has a good deal of Lisztian charisma and a way of making you listen to what she's doing. The B flat major sonata you may find less satisfying. The opening movement is quite deliberate, with lots of tempo rubato, large dynamic contrasts, and pregnant slowdowns, with an enormous and not fully explicable full stop before the recapitulation begins. Other pianists (Sviatoslav Richter comes to mind) have approached the work this way, but perhaps nobody has taken the slow movement as slowly as Buniatishvili does: she takes more than 14 minutes with it, where most pianists take nine or ten. The last two movements are more conventional, and they can't quite cash the checks that the enormous first two movements are writing. This is a case where your mileage (kilometers?) may definitely vary, but where the artist definitely hasn't made safe choices.© TiVo
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Mein Traum. Schubert, Weber, Schumann
Pygmalion
Opera - Released October 7, 2022 | harmonia mundi
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One morning in 1822, Schubert wrote down an enigmatic text in which all his ghosts seem to take shape: wandering, solitude, consolation, disappointed love. Inspired by this dreamlike narrative, Raphaël Pichon, Pygmalion and Stéphane Degout have devised a vast Romantic fresco, combining resurrection of unknown treasures with rediscovery of established masterpieces. © harmonia mundi
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Concerto: One Night in Central Park - 10th Anniversary
Andrea Bocelli
Classical - Released November 14, 2011 | Universal Music Group International
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Part of PBS' long-running Great Performances program, Concerto: One Night in Central Park features legendary Italian tenor Andrea Bocelli's 2011 free concert on Central Park's Great Lawn. With Bocelli backed by the New York Philharmonic conducted by longtime musical director Alan Gilbert, the 17-track collection is also being made available in a deluxe edition that includes a DVD of the evening.© James Christopher Monger /TiVo
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Liszt: Schubert Song Transcriptions, Vol. 3
Goran Filipec
Classical - Released April 28, 2023 | Naxos
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Hope@Home
Daniel Hope
Classical - Released August 14, 2020 | Deutsche Grammophon (DG)
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It's not entirely clear where Daniel Hope's 2020 album Hope@Home was recorded: the location, except for one track recorded at the Frauenkirche in Dresden, is given merely as "Berlin." If it was indeed recorded at the violinist's home, he has a space with an unusually live acoustic that is somewhat at odds with the impression of intimacy that he seeks to convey. That's one of the few complaints here, however, for Hope has, in many ways, made a virtue of necessity. His program is built around a long list of guests, as if in the manner of a home musical soirée, including both instrumentalists and singers. The pianist on the majority of the tracks is Christoph Israel, who also serves as arranger, and it is the variety of these that really makes the album. Hope manages to pull off the idea of having a large group of talented house guests experimenting at the piano, and this is not easy to do with a convincing quality of spontaneity. Consider the unusual combination of Falla's "Asturiana" with Rudyard Kipling's poem "If," spoken by Iris Berben, or a yet more unexpected America the Beautiful. The main sequence of the program consists of a mix of classical (Schubert and Brahms) and popular American, British, and continental European songs. It may be calibrated to appeal to varied audiences, but it is relaxed, fun, often ingenious, and quite lovely.© James Manheim /TiVo
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Schubertiade
Justus Zeyen
Choral Music (Choirs) - Released February 4, 2022 | BR-Klassik
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In society music, or Gesellschaftsmusik, to which a large part of Franz Schubert's lied oeuvre belongs, polyphonic vocal compositions became very fashionable in around 1800 as part of bourgeois musical culture and communal singing. To describe Schubert's pieces for several male or female voices as choral songs is not entirely accurate, however, since at the time they were usually sung by soloists. However, amateur choirs such as the Gesellschaft der Musikfreunde in Vienna already existed and held regular concerts, and Schubert's polyphonic songs thus often came to the attention of a wider public more quickly than his solo songs performed in private circles. Society music had thus taken the step into the concert hall, and Schubert's name first appeared on a program of the Musikfreunde on January 25, 1821. Some of the composer’s best-known songs for men's or women's choir with piano are collected in this "Schubertiade", including the gently swaying barcarole Der Gondelfahrer, in which Schubert evokes the glitter of moonlight on the Venetian canals, or the Ständchen, which was written as a birthday serenade. One of his five settings of Mignon's Nur wer die Sehnsucht kennt from Goethe's Wilhelm Meister was written for five-part male choir – a special feature here among his polyphonic songs is that Mignon's tormented soul is expressed through a differentiated harmony and refined treatment of the text. A prominent position among Schubert’s religious pieces that were not intended for the church is occupied by Mirjams Siegesgesang, where the male and female choirs finally unite and embody the Israelite people. The choir answers to a solo soprano as the precentor. This large-scale work depicts the exodus of the people of Israel from Egypt, with the prophetess Mirjam at their head; her three-movement hymn of praise leads into an impressive choral fugue. © BR-Klassik
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Franz Liszt: Schubert & Wagner Transcriptions
Jean-Nicolas Diatkine
Classical - Released May 27, 2022 | Solo Musica
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Some of Jean-Nicolas Diatkine's singer friends have ended their careers, but their magic is irreplaceable in his eyes, or rather in his ears. He misses them, just as he misses the Schubert, Schumann and Brahms songs they sang. Well, there is only one person who can compensate for this loss, and his name is Franz Liszt. The main aim of transcriptions was to make orchestral works known to a wider audience, at a time when there were far fewer orchestras, and public access to symphony concerts was very limited. But Liszt gives transcriptions a new meaning: he puts the orchestra into the piano, since his style is particularly suited to outsized extravagance. Thus he opens up unprecedented pianistic possibilities, where virtuosity is no longer mere exhibitionism but rather transformed into the art of illusion. His arrangements of Wagner are so convincing that they become his own personal creations. Laurent Bessières, piano tuner at the Paris Philharmonic, suggested for this recording a Schiedmayer piano of 1916 made in Stuttgart, which he had completely rebuilt in collaboration with Antoine Letessier-Salmon, director of the French National Centre for Scientific Research, and Stephen Paulello, piano maker and inventor of the strings that bear his name. This instrument has almost never been used in concert, however excellent work by Laurent Bessières convinced us to try it out in this very special repertoire. © solo musica
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Schubert: Rosamunde
Elly Ameling
Classical - Released August 7, 1985 | Decca Music Group Ltd.
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My Mother's Songbook
Elena Rozanova
Classical - Released March 18, 2022 | Evidence (LTR)
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Liszt devoted more than half his output to the transcription. This latter covers a vast field of compositions, from the symphonies of Beethoven to Berlioz, Bach, Lassus and his contemporaries, as well as his own works. Here Elena Rozanova brings together some of his transcriptions of lieder by Schubert, Schumann and Chopin, well-known or not so well-known, that have cradled her childhood. From these virtuoso pieces we can feel the art of Liszt, who manages to preserve the quintessence of the original works and to transcend the words. © Evidence
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Horowitz in Moscow
Vladimir Horowitz
Classical - Released January 1, 1986 | Deutsche Grammophon (DG)
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Horowitz plays Liszt
Vladimir Horowitz
Chamber Music - Released March 25, 2011 | Sony Classical
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Choc de Classica
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Cliburn Gold 2017 - 15th Van Cliburn International Piano Competition
Yekwon Sunwoo
Classical - Released June 23, 2017 | UMC - Decca Gold
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The Cliburn competition in Texas was one of the forerunners of the abundance of classical competitions that cover the landscape today, not always to the good. However, this one still carries some of the sense that its namesake had for connecting with general audiences, and the decision to release prizewinning performances on disc is welcome. Yekwon Sunwoo, the 2017 gold medal winner, offers the technical fireworks you would expect, and then some. He plays virtuoso works, you might say, in four different modes, and nails them all, beginning with the sheer density of Ravel's nearly unplayable single-piano transcription of La valse. Percy Grainger's Ramble on the Last Love-Duet from Der Rosenkavalier is showy, brilliant, light, a bit humorous, and also not terribly common: kudos to Sunwoo for finding unfamiliar but brutally challenging works. Marc-André Hamelin's showpiece Toccata on "L'homme armé" is another one, showing the contrapuntal arrow in Sunwoo's quiver. Not until after some Haydn and Liszt do we arrive at a standard work: Rachmaninoff's Piano Sonata No. 2 in B flat minor, Op. 36. A good deal of crowd reaction is retained, and there's no getting around it: Sunwoo has steely technical command to a rare degree, and the ability to inject excitement for the music into what he does as well. He is a young pianist to watch, perhaps one of the group for whom this prize has been a springboard to a major career.© TiVo
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Schubert: Piano Music, Vol. 6
Barry Douglas
Classical - Released October 28, 2022 | Chandos
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This sixth volume in Barry Douglas’s acclaimed Schubert series features two major works. The Sonata in A minor, D. 845 was completed in 1825, just before Schubert started work on his "great" Symphony in C major. As in so much of his later writing, Schubert is pushing at the boundaries of sonata form, particularly in terms of the harmonic variation he introduces throughout the piece. The second movement takes the form of a theme and variations, as does the third piece of the second major work on the album, the Four Impromptus, D 935. Published after his death in 1828, they were composed in 1827 and, like the Sonata, show all the trademarks of late Schubert. The programme is completed with Liszt’s transcription of Schubert’s Ave Maria – a sparklingly virtuosic homage to this famous theme, demonstrating once again Barry Douglas’s extraordinary technical facility. The album was recorded on a Steinway model D in the Curtis auditorium of the MTU Cork School of Music in Ireland. © Chandos
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Schubert: Orchestrated Songs
Anne Sofie von Otter
Classical - Released January 1, 2013 | Deutsche Grammophon (DG)
How could it be less than ideal? The songs are among the greatest ever written: Gretchen am Spinnrade, Erlkönig, Nacht und Träum. The orchestrators are all superb composers: Brahms, Berlioz, Liszt, Webern, Reger. The singers are as good as it gets right now in German Lieder: the brilliant and sensual Anne-Sofie von Otter and the powerful and insightful Thomas Quasthoff. The conductor is arguably the greatest living conductor and the orchestra is his own trained instrument. How could it be less than ideal? It is ideal. Von Otter is terrifying in Gretchen am Spinnrade and terrified in Erlkönig, delightfully sly in An Sylvia and endlessly rapt in Nacht und Träum. Quasthoff is infinitely touching in Tränenregen and magnificently imperious as Prometheus, deeply affectionate in Du bist die Ruh and relentlessly heroic in An Schwager Kronos. Abbado brings out the best in every orchestration, but he particularly shines in the Brahms and sings in Webern and orchestrations. The Chamber Orchestra of Europe plays superbly and DG's sound is wonderful. This is an ideal Schubert recording.© TiVo
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La Leggierezza
Yang Yang Cai
Classical - Released January 6, 2023 | Challenge Classics
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Beethoven: Sonata No. 9 in A Major, Op. 47 "Kreutzer" - Schubert: Fantasie in C Major, D. 934 - Debussy: Chansons de Bilitis & Children's Corner - Ravel: Valses nobles et sentimentales - Poulenc: Mouvements perpétuels
Jascha Heifetz
Classical - Released July 22, 2016 | RCA Red Seal
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Schubert: Sonata in B-Flat, D. 960 - Liszt: Mephisto Waltz No. 1, S. 514
Evgeny Kissin
Classical - Released April 5, 2004 | RCA Red Seal
As a youthful prodigy, Evgeny Kissin awed an international audience with his astounding performances of Chopin, Rachmaninov, and Shostakovich while still a teenager. His technique was huge. His tone was enormous. His interpretations were eccentric, inspired, and, more often than not, utterly compelling. As the teenager grew into young manhood, Kissin's technique and tone remained imposing, but his interpretations went from inspired eccentricity into willful eccentricity and, more often than not, complete superficiality.As a mature pianist of 32, Kissin has produced a supremely superficial account of Schubert ultimate Sonata in B flat major. Kissin's technique and tone remain impressive, but his interpretation is, when not willfully eccentric, utterly conventional. His opening Molto moderato is soporifically placid when not absurdly tempestuous. His central Andante sostenuto is dismally dour when not ridiculously histrionic. His Scherzo is blessedly brief but truly trivial, and his closing Allegro, ma non troppo is blissfully unaware and deeply superficial.It gets worse. Kissin follows the sonata with four of Liszt's transcriptions of Schubert's songs. In Liszt's transcriptions, Schubert's sublime songs are turned into works of virtuoso sentimentality and, for better or worse, Kissin's performances are equal to Liszt's transcriptions. It gets worse. Kissin follows Liszt's transcriptions of sublime songs with his own infernal Mephisto Waltz No. 1, surely one of the trashiest pieces of music in Liszt's trashy catalog and, once again, Kissin's performance is equal to Liszt's music in both its transcendent virtuosity and its supreme superficiality. RCA's recording is masterful: warm, detailed, and almost real.© TiVo
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Elégie
Irina Lankova
Classical - Released March 21, 2021 | Irina Lankova
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Schubert : Music for "Rosamunde"
Anne Sofie von Otter
Classical - Released January 1, 1991 | Deutsche Grammophon (DG)
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