There's nothing revelatory in this live recording of Brahms' two piano concertos by an American pianist, Japanese conductor, and Australian orchestra. That is, except for the music itself. Pianist Garrick Ohlsson, with an octave-and-a-half reach equal to Brahms' own, has the power for the titanic Beethovenian gestures of the Piano Concerto No. 1 in D minor, Op. 15, and for its foot-stomper of a finale, which is as good a place as any for the neophyte classical listener to start. Ohlsson is equally adept in catching the spacious and subtle dimensions of the second concerto, which one Viennese critic termed a symphony with piano obbligato.
Glenn Gould was this century's greatest Bach player, so these legendary recordings are self-recommending. While other fine pianists have made powerful statements in this music, no one sounds anything like Gould. His phenomenal clarity of articulation, digital control, and well, just plain interesting way with the music set him completely apart from the competition. With playing of this individuality and quality, it's pointless to engage in any debate with respect to the appropriateness of the piano versus the harpsichord. Scholars and pedants may continue to argue, but the fact is, it doesn't matter. Great musicianship always serves great music best.-David Hurwitz
When he announced in 2004 that he was stepping down as music director from the Royal Concertgebouw, easily one of the best orchestras in the world, it would have been easy for anyone to brand Riccardo Chailly as clinically insane. His announcement stunned the music world. The young, passionate Chailly had succeeded in bringing a new energy and vitality to the Concertgebouw during his impressive 16-year tenure.
In celebration of their twentieth anniversary, this essential release from Praga focuses on the artistry of the great Russian pianist Sviatoslav Richter. In an all-Rachmaninov program, Richter is heard in the first two Piano Concertos accompanied by the great conductor Kurt Sanderling in live performances recorded in the 50s - well before he began touring internationally. Praga's hybrid SACD pairs remastered monophonic recordings of the concertos with four of Richter's favorite Preludes recorded in stereo during his first tour of North America in 1960. Praga has employed the best of today's cutting-edge restoration techniques to present these important historical recordings in all their original glory.
Volume 3 in the series with the complete orchestral works of Ludwig van Beethoven is ready from the Swedish Chamber Orchestra and its music director since 1997, Thomas Dausgaard. The piano concertos are true gems of the classical canon, as Beethoven was an expert both in the art of writing for the orchestra and himself a master pianist. Russian pianist Boris Beresovsky (b.1969) is such a wizard. At the age of 21 he won the Gold Medal at the 1990 International Tchaikovsky Competition in Moscow. It is a privilege to hear how the combination Berezovsky and Dausgaard/SwCO really hit it of in this music. They are enjoying themselves, surprising each other, challenging and courteous at the same time. The sounding result speaks for itself.
Elisabeth Leonskaja is a highly respected (former Soviet) pianist whose career blossomed in the shadow of Sviatoslav Richter and Emil Gilels. Known for her modesty – not unlike older compatriot Maria Yudina – Leonskaja was mentored by Richter and often played duets with him. She would never reach the critical and artistic heights of her great teacher, but her reputation as an imaginative interpreter and formidable technician have lifted her to almost legendary status, with comparisons to Clara Haskil and other keyboard icons…