Klára Würtz

The touch and musicianship of the Hungarian pianist Klára Würtz is amply attested by a substantial catalogue of Brilliant Classics and Piano Classics albums stretching from Mozart to Bartók. Her latest recording turns to a pillar of the keyboard repertoire, the variation set composed by J.S. Bach in 1741 as the fourth and final volume of his compendious Clavier-Übung (Keyboard exercise) project. Practical instruction, entertainment and profound expression went hand in hand for Bach: one artistic goal never obscured the others. However, few of his works attain all three goals with the sublime mastery of the Goldberg Variations.

In issue 33:2 and again in 34:1, Robert Maxham reviewed new releases by a young, Hungarian violinist named Kristóf Baráti. That first entry, a review of Baráti performing Paganini’s First and Second concertos, earned Maxham’s strong recommendation. A year later, the second entry, a review of Baráti performing Bach’s complete Unaccompanied Violin Sonatas and Partitas, earned Maxham’s urgent recommendation.

Brilliant Classics has certainly struck gold with these two artists - this Brahms set is every bit as good as their complete Beethoven Sonatas (also on Brilliant). Gorgeously recorded, with warmth and immediacy, this duo has a natural flair of bringing out every ounce of passion and fire, yet also such freshness - as if discovering the music anew. I have gained much pleasure listening to this team in both this Brahms and their Beethoven set.

After her critically acclaimed recordings of Mozart (complete sonatas), Schumann and Schubert, Hungarian-born Klára Würtz turns to her compatriot Béla Bartók, presenting a representative selection of his piano works. She plays a powerful, rhythmically vital yet never “pounding’ Sonata, a colourful and vibrant Suite Op. 14, an uncompromising Allegro Barbaro, and a selection of pieces from Mikrokosmos and Gyermekeknek (For Children).

Klára Würtz has a special affinity for Schubert. The musical world of dark and light, from innocence and bliss to utter despair, finds a natural expression in her ever-flowing, intensely musical playing. The famous last sonata in B flat D. 960 has been on her repertoire for decades, and her interpretation is one of deep love, understanding and feeling. Her interpretation is characterised by a clear sense of structure, a singing quality and a warm and luminous sound.