This disc marks the beginning of a new Mahler cycle with these forces in SACD sound. If you collect SACDs, you’ll be impressed with the engineering in the surround-sound format, which is very natural, coherent, and has plenty of room ambience without excessive rear-channel emphasis. “Natural” also describes Zinman’s performances. The first movement has a great sense of flow, and he doesn’t drag out the introduction as relentlessly as some others have. He catches the rustic character of the scherzo to perfection, though I do wish he’d exaggerated the Jewish music in the funeral march a bit more. The music could take a bit more schmaltz, and a bit more spookiness in the march itself despite the careful observance of Mahler’s dynamics.
Barcarole: Favourite Orchestral Pieces is a generous collection of Romantic gems performed by Neville Marriner and the Stuttgart Radio Symphony Orchestra, including popular selections by Georges Bizet, Pyotr Il'yich Tchaikovsky, Jacques Offenbach, Jules Massenet, Nikolai Rimsky-Korsakov, Charles Gounod, and Benjamin Godard. Because the music is mostly taken from famous operas and ballets, the album offers a mix of highly colorful and serenely beautiful pieces, though all of them are extremely tuneful and memorable.
Following his successful 2012 release of the Tchaikovsky Piano Concerto No. 1 with Valery Gergiev and the Mariinsky Orchestra, Russian pianist Daniil Trifonov tries on the more intimate role of recitalist for this live Decca album of solo piano pieces by Frédéric Chopin. Trifonov is a powerhouse in the Lisztian mold, and his incredible technique seems better suited to fast, flashy fingerwork than to more subdued music. Certain pieces, such as the Rondo in F major, Op. 5, "À la Mazur," the Étude in F major, Op. 10/8, and the Grande Valse Brillante, Op. 18, allow feats of prestidigitation, and there's no denying that he can perform with dazzling virtuosity.
The title ‘1828’ refers to Schubert’s final and astoundingly productive year, which brought forth the three duets and solo sonata featured on this disc. In Philippe Cassard’s hands, the declamatory dynamism of the D959 A major Sonata’s first-movement exposition takes a back seat, with an emphasis on shapely soft playing that ravishingly comes to roost throughout the movement’s development section. The pianist’s eloquent legato holds attention in the Andantino’s outer sections, yet he downplays the harrowing chromatic climax. He similarly understates the Scherzo’s explosive descending minor scales, yet his delicate, witty arpeggiation of the main theme’s leaping chords delights. While the Rondo gains assurance and momentum as it progresses, I prefer Pollini’s firmer left-hand projection in the explosive central minor episode and the intelligent architecture of his dynamics.