Eugen Muntz

Gilels had immense physical power and impeccable control, but he was also capable of exquisitely refined poetry and had an acute perception of the lyrical impulse lying behind even the most assertive of Brahms's writing. The firmness of attack and the depth of sound that make his (and the Berlin Philharmonic's) playing so thrillingly dynamic can be offset by the most poignant of delicate gestures. There is undeniable grandeur to these readings, but with those additional qualities of wise thinking, generous expression and artistry of great subtlety, these performances are in a class of their own.

Everyone seems to agree that this mono Brahms cycle is one of the great ones, and the only question that really matters is a personal one: can you put up with decent mono sound, or must you have stereo (or to go a step further, digital?). The matter is further complicated by the fact that Eugen Jochum rerecorded this music in fine stereo for EMI, and those performances are also available on two twofers. It's your call, but by all means do sample this marvelous conductor's inspired way with Brahms.

…Luckily not only Arias and Choruses are featured but also two trial scenes [nos. 21 and 23] which give you the chance to hear the phenomenally powerful evangelist Ernst Haefliger - stunning! The other soloists are very good to excellent - Walter Berry [Jesus], Agnes Giebel, Marga Hoffgen and Franz Crass. An important feature is the great sound of the recording – surprisingly clear for its "age", and with the full and rich sound of large scale forces, supported by is a "full size" organ in the continuo, it all combines to a very "lush" and strong projection.

These three masses are early works but Bruckner had already gestated into Bruckner by the time of their composition. His symphonies regularly quote motifs from these works; they resonated in his mind down the years (and in fact, the F Minor Mass was written as a palliative gesture when the poor bugger was madder than usual).

Here is a superb recital following Piers Lane’s earlier Hyperion release of d’Albert piano concertos (4/96) and, once again, provoking astonishment that music of such quality could have lain neglected for so long. Variety is, indeed, the spice of d’Albert (1864-1932), the legendary, six times married pianist so greatly admired by Liszt. Tending to leave his wives as soon as they bore him children (one for the Freudians), his occasional sense of confusion – including an outburst to Teresa Carreno, his second conquest, “Come quickly, my child and your child are fighting with our child” – hardly detracted from a dazzling career and a series of compositions of a special richness.

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.
Eugen Cicero, born Eugen Ciceu (27 June 1940 - 5 December 1997), nicknamed "Mister Golden Hands", was a Romanian-German jazz pianist. He started playing piano at age four, gave his first Mozart Concerto with the Symphonic Orchestra of his hometown, Cluj-Napoca (Klausenburg), at age six and by the time he was 14 he was widely known as a child prodigy. His parents helped him develop this gift and hone his skills and when he was 11 they sent him to study with Aurelia Cionca, renowned in her native Romania as an excellent pianist who herself was taught by a student of Franz Liszt…

IN+OUT Records has unearthed another treasure of Eugen Cicero: „Lullabies“, a trio studio recording from 1995 with Decebal Badila on bass and Ringo Hirth on drums. This album was originally only released for the Japanese market and is now available for the first time.