To run parallel with his complete Haydn series, Jean-Efflam Bavouzet is now starting a complete, chronological cycle of Beethoven’s piano sonatas. This first set covers the sonatas composed in the 1790s. Two further volumes, of middle and late sonatas, will follow in 2013 and 2014 respectively.
Modern recording and interpretation of Ravel's works for piano by the famous Jean-Efflam Bavouzet… Anyway here are some exhausive customer's reviewsEdit:
Three 20th-century orchestral scores, Bartók’s Two Pictures, Debussy’s Jeux and Stravinsky’s The Rite of Spring, all dating from 1910-13 and all linked (as the detailed CD booklet explains), are brought to life in the hands of two exceptional French pianists. The central interest is the ballet Jeux. One of the world’s outstanding Debussy interpreters, Jean-Efflam Bavouzet has added to his complete Chandos recordings with his own transcription for two pianos. Written late in Debussy’s life for Nijinsky, Jeux involves an emotionally erotic and harmonically daring game of tennis. Bavouzet and his well-matched partner, François-Fréderic Guy, play with nimble grace, capturing the works wit and mystery. This gripping album is dedicated to Pierre Boulez, guru and enabler, for his 90th birthday.
Jean-Efflam Bavouzet returns for the second volume of his survey of Beethoven’s Piano Sonatas. The project, set to conclude with Vol. 3 in 2014, runs alongside his complete recording of Haydn’s Piano Sonatas. Vol. 1 of the Beethoven series was critically acclaimed, BBC Music calling the performances ‘distinguished and virtuosic’ and Fanfare remarking that ‘his readings will withstand the test of time’. In this release Bavouzet performs the sonatas published between 1800 and 1804.
We have now reached Volume 5 in Jean-Efflam Bavouzet’s project to record the complete piano sonatas of Haydn. Many leading pianists have tackled these, at times technically challenging classical sonatas, but in Bavouzet’s own words, this is a composer who always left the door open for new interpretations: ‘One often forgets how little information Haydn left in the text of his keyboard works: few instructions on nuance and phrasing, and very minimal tempo indications.
This is Volume 4 in Jean-Efflam Bavouzet’s project to record the complete piano sonatas of Haydn. The last volume in the series was a Critic’s Choice in Gramophone, an Instrumental Choice in the magazine BBC Music, Editor’s Choice in the magazine Classic FM, and Recording of the Month in MusicWeb International.
This second volume in Jean-Efflam Bavouzet's Haydn sonata cycle is every bit as outstanding as the first. As previously, he ornaments repeats liberally and observes second-half repeats, playing the codas (if any) only the second time around–a very intelligent decision. Indeed, it works so well that I would be surprised if this doesn't turn out to be one of those "authentic" performance practices that no contemporary sources discuss because it's so obvious on purely musical grounds.
It sure have taken a long time but here they are ! Enjoy…
Bavouzet’s previous two volumes have been very well received both critically and commercially. In a recent review of volume two the LA Times wrote, ‘In what may turn out to be the greatest complete recorded survey of the composer’s piano music yet, Jean-Efflam Bavouzet… plays with such bracing clarity that hearing the early Romantic pieces, one feels like jumping into an icy pond after an hour in the sauna’. Of the same volume International Record Review has noted, ‘I had the highest praise for Jean-Efflam Bavouzet’s first volume of Debussy, and the present disc is fully the equal of that one in terms of colour, refinement of touch, spontaneity and technical finish…
'This is the fourth and final disc in Jean-Efflam Bavouzet’s Debussy series for Chandos, and perhaps the most impressive… Bavouzet’s performances manage to reconcile perfectly those echoes of the earlier sensuous writing with the newly invented, harder-edged sonorities. He is just as convincing in the two sets on Images as well, whether perfectly gilding the swoops and swirls of Poissons d’Or, or evoking the stately monumentality of Hommage à Rameau.'
Some tracks on Disc 4 were messy & had a too long filename, so I re-ripped the entire album with EAC.
Russian pianist Mikhail Pletnev has an astoundingly clean and virtuosic technique. He has the ability to bring out inner voices that in some other recordings are completely lost. These skills are sometimes enough to make his interpretations of these three early and middle period Beethoven sonatas completely satisfying. The third movement of the "Moonlight" Sonata, for example, is absolutely electrifying in its virtuosity. The first movement of the"Waldstein" and the final movement of "Appassionata" are brisk, energetic, and always completely under control. Movements such as these, where the performer's technique truly comes to the forefront, are absolutely satisfying here.