When Nobuyuki Tsujii rose from the piano, having completed his performance at the Thirteenth Van Cliburn International Piano Competition, audience members leapt to their feet and jurors were moved to tears by his passionate interpretation of Chopin s Piano Concerto No.1. Already known in his home country for his refined and effortless playing, his spell-binding performances brought Mr. Tsujii to the attention of hundreds of thousands of new fans throughout the world, while raising his status in Japan to superstar. Gold medalist , Nobu is heard here in a captivating all-Chopin programme of his competition performances.
In my opinion, Evgeny Kissin's musical gifts and individuality have never been more apparent than on this CD. His technique is in top form (as always), and his ideas work brilliantly. The Sonata in F sharp minor Sonata is played convincingly, for once, and Kissin manages to hold together the grossly-overworked fandango rhythms in the first movement. The highlight of this disc, however, is Carnaval.
With the large but unavoidable exception of that visionary and unpredictable maverick Malipiero, Alfredo Casella (1882-1947) was probably the foremost Italian composer of the last century who most ideally embodied Martucci's anti-verismo aspirations for his national music. And, among Casella's numerous concertante and miscellaneous orchestral works, this third and last of his three symphonies, dated 1939-40, commissioned ……..Fanfare, Paul A. Snook, Jan-Feb 2010
Christophe Coin (born 26 January 1958) is a French cellist, viola da gamba player and conductor active in the field of historically informed performance. He is the cellist of the Quatuor Mosaïques and is the director of the Ensemble Baroque de Limoges.
The Eroica Trio's recording of the Beethoven Triple with the Prague Chamber Orchestra was so successful it landed this piece on Billboards Top 20 for the first time in recording history. The Trio appeared on the German television program "Klassich!" performing the Beethoven Triple Concerto with the Munich Symphony, which was aired throughout Europe.
One could easily mistake this music for C. P. E. Bach, but it’s a little less stuffy, more playful, more inventive, a bit more theatrical, but not quite as theatrical as that of J. C. Bach. One can see how people were eager to believe that Abel [1723-1787] had studied with Bach — but as he was a family friend, he most surely studied Bach, if not with Bach. Abel had met the young Mozart with his family […] After the dissolution of his London partnership Abel returned to Potsdam and enjoyed brief popular success as a gambist before his death at the age of 54. (Paul Shoemaker, www.musicweb-international.com, 2003)