Piano Work

Following the varied programming of Johannes Brahms: Works for Solo Piano, Vol. 1, Barry Douglas presents a mix of early and late pieces to give the second volume emotional balance, and sets a series of short pieces against a monumental masterpiece. Douglas is a thoughtful and eloquent performer, and his Brahms has the hallmarks of serious consideration and introspection; nothing here is superfluous or simply offered for show. The sensitive selection of three Ballades and three Intermezzi to frame the muscular Rhapsody Op. 119/4, gives the first part of the program an internal unity and feeling of logical organization, even though the shifting moods feel as effortless and unplanned as clouds passing on a sunny afternoon. The Sonata No. 3 is placed at the end of the recital, as befits its stature, and Douglas' interpretation gives it the feeling of gravitas and inevitability. Yet it also partakes of the fleeting moods that were carefully prepared in the early part of the program, so Douglas' shaping of this album shows great care in preparation.

The Franck Piano Quintet is a performance of immense ardour and vigour, in which the players luxuriate in the lushness and melodic wealth of the composer’s writing. It’s a reading of emotional urgency that certainly packs a punch. Rarely have I heard such heartfelt passion and drama. The wistful calm and autumnal glow of the slow movement is spellbinding, and provides a contrast to the more heated and intense outer movements. Ideal balance between piano and strings adds to the overwhelming success of the performance.

This release by Norwegian cellist Jonathan Aasgaard (the principal cellist of the Royal Liverpool Philharmonic Orchestra) and British pianist Martin Roscoe purports to be a complete recording of Brahms' music for cello and piano. In fact it's padded with quite a few other things that have little or nothing to do with Brahms other than the fact that he composed the original music.

This release by Norwegian cellist Jonathan Aasgaard (the principal cellist of the Royal Liverpool Philharmonic Orchestra) and British pianist Martin Roscoe purports to be a complete recording of Brahms' music for cello and piano. In fact it's padded with quite a few other things that have little or nothing to do with Brahms other than the fact that he composed the original music.

For the first time complete (including 3 world CD premières): the piano works of Ildebrando Pizzetti. Pizzetti was a contemporary of Respighi, Malipiero and Casella. His style is retrospective, nostalgic and influenced by the Italian Belcanto. Excellent performances by Giancarlo Simonacci, a specialist in 20-th century music, as demonstrated in his superb recordings of the piano music of John Cage on Brilliant Classics. Ildebrando Pizzetti (1880-1968) belonged to the group of Italian composers (the so called ‘Generation of the ‘80s’), his contemporaries were Respighi, Malipiero and Casella. Of these composers, Respighi and Pizzetti composed relatively little for the piano, and their works for the instrument tend recall music of the past - with echoes of baroque and Gregorian chant detected in many of them.

This release by Norwegian cellist Jonathan Aasgaard (the principal cellist of the Royal Liverpool Philharmonic Orchestra) and British pianist Martin Roscoe purports to be a complete recording of Brahms' music for cello and piano. In fact it's padded with quite a few other things that have little or nothing to do with Brahms other than the fact that he composed the original music.

This extraordinary pianist studied the piano at the Moscow Conservatory with Emil Gilels and Yakov Zak…