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Klassiek - Verschenen op 3 november 2017 | Le Palais des Dégustateurs

Booklet Onderscheidingen Choc de Classica
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Not to be confused with the pianist Lazar Berman (1930-2005), Boris Berman (*1948) is a well-known name in his own right among Russian Jews. Boris, a disciple of Lev Oborin, and therefore a descendant of the Igumnov branch of the famous Russian school of piano, can boast of a fairly unique career: from the 1960s, he was interested in baroque music, to the point of joining (as a harpsichord player) the only ensemble playing ancient music which was then active in Moscow. This, of course, never stopped him from frequently playing the works of Alfred Schnittke or Edison Denisov, or from overseeing Soviet performances of the works of decadent Western capitalist composers like Schönberg, Stockhausen, Berio or Ligeti. In 1973, Berman was able to leave the USSR for Israel, moving shortly thereafter to the USA, where he still lives. His new Debussy album – Debussy being a composer particularly close to his heart, and to whom he has already dedicated two records – allows him to explore the two books of the Préludes and then the Estampes (as well as a handful of isolated pieces) which we might call solid: a thousand miles from the airy efforts which are all too often labelled as impressionism: this is a solidity without any kind of aggression, and it comes with all the sensitivity which is so needed in this translucent and perfumed music. © SM/Qobuz