Mahan Esfahani Prague Radio SO Liebreich

Mahan Esfahani’s first concerto album for Hyperion is everything the listener could wish for: definitive performances of three marvellous—and unexpected—works by three of the last century’s Czech masters.

Mahan Esfahani’s first concerto album for Hyperion is everything the listener could wish for: definitive performances of three marvellous – and unexpected – works by three of the last century’s Czech masters.

Mahan Esfahani’s first concerto album for Hyperion is everything the listener could wish for: definitive performances of three marvellous – and unexpected – works by three of the last century’s Czech masters.

A collection of miniatures centred around the sets of Inventions and Sinfonias which Bach wrote principally as teaching aids—of an extremely superior kind, it should be noted—to encourage any young keyboard player ‘keen to learn’. These joyous, enthralling accounts from Mahan Esfahani prove that there is a great deal more to them than that.

A collection of miniatures centred around the sets of Inventions and Sinfonias which Bach wrote principally as teaching aids—of an extremely superior kind, it should be noted—to encourage any young keyboard player ‘keen to learn’. These joyous, enthralling accounts from Mahan Esfahani prove that there is a great deal more to them than that.

A comprehensive overview of every style available to Bach, from the archaic to the modern: Mahan Esfahani rises condently to the challenge of his own brilliant appraisal of the Partitas in performances brimming with intellectual and emotional energy.

This sensational recital—featuring some of the greatest keyboard music to emerge from these islands—is the perfect vehicle for Mahan Esfahani’s abundant talents. His accompanying booklet notes are an added bonus, guaranteed to inform, illuminate and provoke by turns.

"As the progenitor of a style whose influence more or less came to define the in- strumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli’s style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes – most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa – was a significant part of what his followers considered the ‘Corellian’ manner.