Chopin
graham.rickson
Quartets Through a Time of Change: music by Ravel, Durey, Tailleferre and Milhaud Brother Tree Sound (First Hand Records)There are plenty – and I mean plenty – of recordings of the Ravel String Quartet, the majority, I would guess, paired with the Debussy Quartet, in what has become something of a programming cliché. The Brother Tree Sound quartet take the rather more enterprising approach of putting it alongside three other French quartets written between 1917 and 1919, none of which are very well-known if they are known at all. It works really well, both as exposure for the lesser Read more ...
Boyd Tonkin
Forthright and upright, powerful and lucid, the frank and bold pianism of Leif Ove Andsnes took his Wigmore Hall audience from Norway to Poland (or rather, Paris and Majorca) with a final stop in France. A recital that began with two large-scale Norwegian sonatas – one a remarkable discovery – culminated in the ostensibly remote sound-world of Chopin’s 24 Preludes, part-written on the Balearic island.Yet Andsnes’s sturdy, direct, immaculately even-tempered, playing united these disparate territories, and even stamped his Debussy encore with the same robust character. Fans of a more nebulous, Read more ...
graham.rickson
Chopin: Études op.10 & op.25 Yunchan Lim (Decca)Chopin Nicolas van Poucke (Night Dreamer)I’m reviewing these two Chopin discs by a pair of young men together, even though there are lots of differences between their playing, and the way the albums have been put together. Yunchan Lim is just 20, the youngest ever winner of the Van Cliburn competition, in 2022. His first album, on Decca, is of Chopin’s Études (the op.10 and op.25 sets), which are favourites of mine, and perfect “young man’s music” in their unashamed show-offiness and heart-on-sleeve emotionalism. That they are Read more ...
David Nice
With rapid, sleight-of-hand flicks between calm assurance and demonic agitation, Boris Giltburg turned in a coherent and epic recital that won’t be surpassed in 2024. Most pianists would quake simply at the thought of performing the four Chopin Scherzos in sequence; Giltburg set them up with phenomenal insights into Scriabin and Schumann.He went in deep with perfect space around the noble beginnings of Scriabin’s relatively early (1890s) Second Sonata, that side of the composer very much, in Boris Pasternak’s words, “as tranquil and lucent as God resting from his labours on the seventh day”. Read more ...
graham.rickson
Beethoven: Piano Concertos 1-5 Garrick Ohlsson (piano), Grand Teton Music Festival Orchestra/Sir Donald Runnicles (Reference Recordings)This set would be an artistic treat had it been captured onto a couple of C90 cassettes with a boombox. Instead, Garrick Ohlsson’s Beethoven concerto cycle was taped over a week in July 2022 in Walk Festival Hall, a medium-sized wooden venue in a small Wyoming village, Sir Donald Runnicles conducting a festival orchestra drawing its members from elite ensembles in the US and Europe. There’s an interesting booklet essay from producer Vic Muenzer Read more ...
David Nice
Chopin’s piano concertos and Strauss “symphonic fantasia” Aus Italien are young men’s music, bursting with inspired ideas, but baggy at times, hard to steer. Elgar’s In the South is up there with the mature Strauss tone poems – even if it couldn’t have taken the shape it did without them – but here the steering itself was the problem: missing the exuberance, the Philharmonia’s Principal Conductor Santtu-Matias Rouvali stretched it on the rack.It was an odd Prom to win a packed house. Many audience members were Korean, come to see and hear Seong-Jin Cho, winner of the 2015 International Chopin Read more ...
David Nice
What a difference a piano can make. Boris Giltburg, like Angela Hewitt, prefers a very special Fazioli over the Steinways which dominate the concert scene at the Wigmore Hall and elsewhere. While those may yield a greater depth of field, more appropriate for a 2000 seater venue, few pianists have wrought sound magic on them anything like the kind we heard throughout last night’s rich recital.I’d better explain where a slight resistance kicked in across the wonders of the Chopin Ballades, which Giltburg presented as a sequence: like Schubert’s D899 Impromptus, the result came over as a kind of Read more ...
David Nice
Semi-standing ovation at a lunchtime concert in a London church? Predictable, perhaps, from the first recital I heard George Xiaoyuan Fu give at the Two Moors Festival, an avian programme which made me long to hear him play Messiaen’s complete Catalogue d’oiseaux. Yesterday’s “Chopin Revisited” sequence heightened the sense of originality in planning and confidence in presentation. This is one of the most exciting young pianists of our time, no question.It's often said that Chopin's supreme originality is to be heard in his Mazurkas. Not exclusively so, of course, but Fu's selection certainly Read more ...
Christopher Lambton
By chance, I started watching this streamed concert shortly after hearing a live BBC broadcast of the Philharmonia playing in front of an audience for the first time in over a year. Much though I love the Royal Scottish National Orchestra, steadfast companion over many Edinburgh winters, from student standby to bus pass, there is no doubt where I would have rather been. A link, a click and a screen in my office do not even approach the palpable excitement in the Royal Festival Hall that evening (David Nice was there and confirmed that in his review). Orchestral music needs an audience, and it Read more ...
Boyd Tonkin
In a bold first strike – straight to the gut, surely, for many in the audience – the Wigmore Hall’s “Proust Night” began with an old recording of the Berceuse from Fauré’s Dolly Suite. Clever. How apt that the signature tune from Listen With Mother (a beloved old BBC radio show of stories for younger children) should have been composed by a friend – and idol – of the writer whose own rapt entanglement in the mother-child bond threads through his life and work. Memory, elegy, nostalgia, lost bliss, solace beyond pain, the quest to recapture in art whatever time has snatched from Read more ...
David Nice
Composer Gian-Carlo Menotti once asked rhetorically what society wanted of performing artists – “the bread of life or the after-dinner mint?” There were a couple of audience members last night – unique in my experience so far of the Fidelio Orchestra Café’s set-up – who clearly wanted pianist Charles Owen’s recital to be the pre-dinner amuse-bouche; one was reading a book from the start, another came down from upstairs during the music to demand a bottle of wine. But generally the small groups of attendees have relished what we’ve had on every musical programme, from Isserlis via Ibragimova Read more ...
David Nice
There is genius not only in the rainbow hues of Pavel Kolesnikov’s playing but also in the way his chosen programmes resonate. He’s given us interconnected wonders from across the centuries, but chose to focus on the greatest of composers for the piano in only his third such recital. His first all-Chopin concert was given in sentimental homage to his birthplace, Novosibirsk; the second was a BBC Lunchtime Prom of Mazurkas; and this third, under circumstances even more exceptional than the Prom, brought light to his first UK audience after lockdown – a privileged 25 of us each evening.In Read more ...