Perahia Mendelessohn

Perahia formed the first incarnation of his full time group Joshua after quitting his studies in pre-med at UCLA in the late seventies. Joshua's 1983 Enigma debut, The Hand Is Quicker Than The Eye, preceded the Jeff Fenholt fronted Polydor release Surrender from 1986. After recruiting a new vocalist in Rob Rock (Impellitteri), Perahia returned to the studio and recorded the polished melodic metal of the critically acclaimed Intense Defense (which came out on RCA Europe in 1988). Seven long years passed – that included a stint in Jaguar with vocalist Robyn Kyle Basauri (Red Sea, Die Happy) – before he put together his new group, M Pire, and its full length debut Chapter One. Originally released on Long Island Records in 1995 (and soon to go out of print when Long Island went out of business), Chapter One was re-issued in 2001 on M&K Sound – under the new heading Joshua Perahia as opposed to M Pire – and for a second time in 2008 (but with the track “Bad Man” omitted).

Exclusive Sony Classical pianist Murray Perahia releases this collection of the keyboard concertos of J.S Bach. Celebrated by his fans and media alike on first release, several of the concertos have been unavailable for some time and make a welcome return to the catalogue, The set contains some of Perahia’s all-time best-selling recordings.

This Chopin recital represents Murray Perahia's return to the Sony studios after a two-year absence due to serious injury. So may I start by saying that this is surely the greatest, certainly the richest, of all his many and exemplary recordings. Once again his performances are graced with rare and classic attributes and now, to supreme clarity, tonal elegance and musical perspective, he adds an even stronger poetic profile, a surer sense of the inflammatory rhetoric underpinning Chopin's surface equilibrium. In other words the vividness and immediacy are as remarkable as the finesse. And here, arguably, is the oblique but telling influence of Horowitz who Perahia befriended during the last months of the old wizard's life.

The elegant and clean lyricism of Murray Perahia's playing fits this program of piano songs without words to a tee. Perahia has always had a wonderful knack for teasing out singing contrapuntal lines that other pianists ignore. Far from sounding willful, such interpretative playing seems to reveal music that one should have been hearing all along. Consequently, Perahia lends all music that falls under his hands a decidedly polyphonic cast. It is therefore not surprising that Perahia renders the richly textured Bach-Busoni chorale transcription, "Nun freut euch, lieben Christen," with unstudied charm.

Recorded over 13 years between 1975 and 1988, Murray Perahia's cycle of the complete piano concertos of Mozart, including the concert rondos and double concertos, remains perhaps the most enduring monument to his art. What is it about Perahia's art, some skeptics might ask, that is worth enduring? For one thing, as this 12-disc set amply demonstrates, there is his incredible tone.

Recorded over 13 years between 1975 and 1988, Murray Perahia's cycle of the complete piano concertos of Mozart, including the concert rondos and double concertos, remains perhaps the most enduring monument to his art. What is it about Perahia's art, some skeptics might ask, that is worth enduring? For one thing, as this 12-disc set amply demonstrates, there is his incredible tone. Clear as a bell, bright as the sky, and deep as the ocean, Perahia's tone is not only one of the wonders of the age, it's admirably suited to the pellucid loveliness of Mozart's music.

During the 1720s, Bach grouped his harpsichord suites into two sets of six each and assembled a third, that was newly composed. These compositions have survived as the English Suites, French Suites and Partitas. Only the Partitas were published in Bach's lifetime. The English Suites are the earliest of these keyboard works and three of them are the focus of this recording by pianist Murray Perahia. There is nothing especially "English" about these works and their misleading title is one that was never known by Bach. Dubious titles notwithstanding, the works are marvels of invention that marry intellectually challenging contrapuntal lines to sublime melodies. Perahia wisely says the suites are "heart and mind connected."

It is difficult to imagine a better introduction to the piano music of Bartók than this splendid disc. Murray Perahia’s musicality is justly famous - most notably perhaps in the music of Mozart - and it is everywhere evident here. The disc begins with the Sonata of 1926. Immediately one is struck by the intelligence of the playing as well as by the characteristic lightness. In keeping with this view of the music, sforzati are accorded weight without unnecessary violence. For the slow movement (‘Sostenuto e pesante’), it is harmonic colour that is to the fore before a cheeky finale, very much alive, rounds the work off.