A majority of well-known composers have written at least a few chamber compositions in their entire lifetime. The most famous would have to be Mozart, Beethoven, Brahms, and probably Prokofiev. Some, including Respighi and Vaughan Williams, are overlooked or even rejected in today's society. Whether it's because of lack of originality or excessive complexities, these sorts of compositions are always left in the dark. Take Rachmaninov's Cello Sonata, for instance. This 35-minute work doesn't receive the complete recognition it deserves. It's overshadowed by the composer's piano concertos and symphonies, all of which are respectfully first-rate works in their own right.
Captured in the Maly Hall of the Moscow Conservatory where much of Prokofiev's work was first heard, it's surprising to find so many aspects of the composer's style represented, from the Romanticism of the early Ballade through the spiky dissonances of Chout to the elegiac, unfinished Solo Sonata. Aided by characterful piano-playing by Tatyana Lazareva, Ivashkin's recital compares most favourably with his similar programme on Ode for which he was accompanied by a more reticent pianist; although the earlier disc includes the Concertino movement in the guise of Rostropovich's cello quintet arrangement, the absence of the Chout transmogrification makes the Chandos collection appear better value.
Rudolf Buchbinder is firmly established as one of the most important pianists on the international scene, he is a regular guest of such renowned orchestras as the Berlin Philharmonic, Vienna Philharmonic, New York Philharmonic, Orchestre National de France, London Philharmonic, National Symphony, and the Philadelphia Orchestra. He has collaborated with the world’s most distinguished conductors including Abbado, Dohnányi, Dudamel, Frühbeck de Burgos, Giulini, Harnoncourt, Maazel, Masur, Mehta, Saraste, Sawallisch and Thielemann and is a regular guest at the Salzburger Festspiele and other major festivals around the world.
“there are several reasons to shout about it…there's Shelley himself: a pianist whose quiet musicality and unobtrusive virtuosity shine through everything he touches…Throughout the set, there's a humanity to Shelley's music-making; it's particularly affecting in the B-flat Concerto, which he imbues with warmth as well as wit…this is a major new cycle, an important addition not only to the catalogue but also to Shelley's exceptionally fine discography.”
A study of Viennese-born composer Ernst Krenek's prodigious output is rather like a study of twentieth century music in microcosm. Krenek moved with ease through the various aesthetic and stylistic changes that marked that turbulent century, taking what he considered the best features of each and fusing them into a new language all his own. Born in August of 1900, Krenek began musical training at the age of 6, and later studied privately with Franz Schreker in Vienna before enrolling for formal training with the same at the Berlin Conservatory in 1920……