This is Volume 4 in Barry Douglas’s monumental project to record the complete works for solo piano by Johannes Brahms. Each volume has been released to critical acclaim, the first one, in 2012, being seen by BBC Music as ‘a triumph of Brahmsian thought, with playing that gets right to the heart of the composer’. Once again, the album is presented as a stand-alone recital, prominently featuring the C major Sonata, which was Brahms’s first published work. The influence on Brahms of his early romantic predecessors Beethoven and Schubert is obvious here, not only in the virtuoso demands on the performer but also in the opening, which recalls both Beethoven’s ‘Hammerklavier’ Sonata, Op. 106 and Schubert’s ‘Wanderer’ Fantasy.
This album is the penultimate in what BBC Music has described as a ‘triumph of Brahmsian thought’, namely the survey by Barry Douglas of the composer’s complete works for solo piano. Three years after the release of Volume 1, the winner of the 1986 Tchaikovsky Competition is now performing this repertoire in the finest international venues, such as the Wigmore Hall in July 2015 and Concertgebouw in 2016, when the series will come to a highly anticipated climax with the final volume. Taking a big step further in his career with this achievement, Barry Douglas is gaining a reputation of one of the few accomplished world-class piano virtuosi of the romantic repertoire.
Barry Douglas returns for the highly anticipated third volume in his series devoted to Brahms’s solo piano music, the first two volumes having been met with widespread critical acclaim. Of Vol. 2, International Record Review wrote, ‘this is indeed Brahms playing of the utmost integrity and authority… this cycle looks set to become a benchmark. The selected Intermezzi performed here come from the collections of short piano pieces which Brahms published in 1892 – 93, his last works for piano. A sense of wistful, melancholic reflection pervades these exquisitely crafted masterpieces of Brahms’s late maturity.
Following the ‘Gramophone Record of the Year’ award-winning set of the Brahms Symphonies, Riccardo Chailly turns his “rare talent for transforming music ripe for rediscovery” to Brahms’s Serenades. This exquisite recording renews these unjustly neglected and rarely performed works in performances of “trademark clarity” (Gramophone Record of the Year 2014) and marks the first Decca recording of these works since Kertesz in 1968.
Bold, lush, and exquisite piano quartets by Mahler, Schumann, and Brahms, this core classical album presents some of the finest pieces written in the romantic era. For this chamber music album, Daniel Hope has put together a stellar cast, including CMS Artistic Directors David Finckel and Wu Han, as well as viola legend Paul Neubauer.
This release sees Murray Perahia returning to Brahms after a significant series of excellent Bach recordings for Sony Classical. His 1991 Sony recording of the Sonata No.3 has an assortment of Intermezzos and Rhapsodies as a filler, but this new disc sees Perahia taking the later opus numbers head-on, working up to them chronologically via the Handel Variations and Rhapsodies Op.79 which, as Katrin Eich says in her booklet notes, each represent an ‘end point’ at certain stages in Brahms’ compositional output.
Paranoid was not only Black Sabbath’s most popular record (it was a number one smash in the U.K., and “Paranoid” and “Iron Man” both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath’s signature sound — crushingly loud, minor-key dirges loosely based on heavy blues-rock — and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like “War Pigs” and “Iron Man” (which sports one of the most immediately identifiable riffs in metal history).