Dvorak: Cello Concerto, Piano Trio “Dumky”

No-one before Dvorák had ever written so well for the cello as a concerto soloist: his work has unquestionably entered the pantheon alongside the finest concertos for piano or violin. To complement this legendary masterpiece, Jean-Guihen Queyras is joined by Isabelle Faust and Alexander Melnikov in the no less famous ‘Dumky' Trio.

“The accompanying performance of the Dumky Trio is completely captivating; indeed their rendition of the four middle movements is among the finest available” --BBC Music Magazine

“what really makes this disc a winner is a thoroughly exciting reading of the Dumky Trio… There's a clarity and intelligence in this performance that puts it up with the very best.” --The Independent on Sunday (Outstanding)

Read More

Dvořák: Slavonic Dances

"As might be expected from Harnoncourt, this isn't "just another" recording of the Slavonic Dances--but neither is it interpretively perverse in an off-putting way. The recording it most resembles is Szell's, not so much in terms of tempo, but with respect both to Harnoncourt's ability to characterize each dance fully and his willingness to tinker in small ways with balances and the letter of the score (as in the percussion parts in the Op. 46 No. 1) for maximum effect. In general, Harnoncourt opts for extremes of speed, especially in those dances--such as Op. 46 Nos. 2 and 3, or Op. 72 No. 5--that display alternating fast and slow sections.

Accordingly, my only (minor) criticism of this performance is that by exaggerating this fact Harnoncourt's tactics become somewhat predictable when listening to all 16 numbers at a sitting. You, however, may not share this concern and will just get carried away by the excitement of it all.

There's no question that emphasizing the music's mood shifts and general volatility pays big dividends, say, in the last two dances of Op. 46, which fairly bristle with rhythmic energy and high spirits. It's also worthwhile to note the traps that Harnoncourt does not fall into, such as the "semi-traditional" exaggerated ritard on those emphatic two-chord bangs that feature so prominently in Op. 72 No. 3. He also turns in an appealingly punchy view of No. 6 in the latter opus and offers a controversially fast conclusion whose wide gear-shifts may raise a few eyebrows. No matter: it's all freshly imagined, fabulously played, excellently recorded, and all in all makes a wholly convincing case for yet another recording of these imperishable musical gems." --David Hurwitz, ClassicsToday.com

Read More

Between Worlds

“Avital's follow-up to his superb recording of Bach concertos only confirms that we already knew: that here is a musician who recognises no boundaries except those of good taste, and who has the artistry to persuade listeners to follow him anywhere.” --Gramophone Magazine, February 2014

“The six Bartók miniatures of the Romanian Folk Dances are deftly managed, with subtle string washes setting off Avital’s delicate filigree picking, and De Falla’s “Siete Canciones” offers the broadest range of tempo and emotion. But the most satisfying is Piazzolla’s highly rhythmic “Fuga y Misterio”” --The Independent on Sunday, 2nd February 2014 ***

Avi Avital (mandolin)

A genre-defying tour of the globe exploring the nexus between classical, popular and traditional music uniquely inhabited by Avi Avital and his magical mandolin. From Bach to Bluegrass to Balkan Beats, Avi Avital plays all with charismatic charm.

After the success of “Bach”, Avi returns to again defy expectations with a selection of beautiful melodies and delightful dances from Europe, Central Asia, and the Americas, each with roots in popular folk traditions, arranged by some of the world’s greatest classical composers. For this journey, Avi is joined by a host of special guests: from music legends such as Richard Galliano and Giora Feidman, to DG stars such as Catrin Finch, accompanied by a hand-picked ensemble of virtuoso friends from around the world. Repertoire highlights include the popular Monti Czardas, Bachianas Brasilieras (Villa-Lobos), Bloch’s spiritual Nigun, the finale from Dvořák’s “American” String Quartet, Spanish, Bulgarian, Romanian, Cuban and Georgian folk dances, and a very special Piazzolla tango.

Read More

Dvorak: Piano Quintet & Piano Quartet

“The Schubert Ensemble are not only adept at delivering the melodic side without an ounce of sentimentality, they show a strong appreciation of the inherent drama that energies these works, particularly in the Piano Quartet...As a whole these excellently-recorded performances lead a well-populated field.” --BBC Music Magazine, August 2012 *****

“Happily, the Schubert Ensemble meet Dvorak on his own terms; no mean feat given the previous dominance in this repertoire of home-grown musicians. The mixed make-up of the ensemble may be important in this regard, for these are emphatically not recordings made by a pianist and a string quartet...This is an unqualified delight.” --Gramophone, March 2013

“... This new Chandos release is a very fine one, sporting superior sound, as is customary for the company’s recordings, and the Schubert Ensembl turns in topflight playing and thoughtfully considered performances that steer clear of rhetorical flourishes and interpretative exaggeration...” --Fanfare, November/December 2012

Read More

Saint-Saëns: Suite und Romanze; Dvorak: Cellokonzert

”…Hornung seems to come from another planet. [He] is a man who has reached maturity early, and who combines the cool confidence of a veteran performer with the youthful abandon of a rookie” (Die ZEIT)

With his striking musicality, instinctive stylistic certainty and musical maturity, the young cellist Maximilian Hornung, whose career began when he won the German Music Council’s Competition in 2005, is taking the international music scene by storm. 

He received an ECHO Klassik prize as best newcomer of the year for his first Sony CD in 2011, followed by an ECHO Klassik prize for the best cello concerto recording of the year for his recording of Dvořák’s Cello Concerto with the Bamberg Symphony under Sebastian Tewinkel in October 2012.

Read More

Dvorak: Violin Concerto

“Mutter's playing is never less than dazzling...Her approach is often highly interventionist...In the slow movement there is magical ornamental playing, but at times rather exaggerated portamento.” --BBC Music Magazine, January 2014 ***

“With a sound like molten chocolate and a romantic temperament to match, the violinist Anne-Sophie Mutter is in her element here...The Berlin Philharmonic under Manfred Honeck tempers the sweetness with playing that is rich, intense, but also edgy where needed.” --New York Times, 11th December 2013

In a stunning recording career of over 35 years, Anne-Sophie Mutter has sold over 10 million albums.

Renowned for her technical facility and limitless range of expressive colours, Mutter is the undisputed “Queen of the Violin” (Times of London) - a musical legend of our time.

It is no exaggeration to call this recording an historic venture: in June, Mutter and the Berliner Philharmoniker, whose deep and lasting artistic relationship was forged in the 1970s, came together at the Berlin Philharmonie, to make their first studio album in almost 30 years.

Here, she records Dvořák’s Violin Concerto – the last of the great Romantic violin concertos not yet in her discography.

Anne-Sophie Mutter has chosen to pair Dvořák’s Violin Concerto with his fiery Mazurka Op. 49, and the Romance in F minor for violin and orchestra Op. 11. The album also includes Dvořák’s irresistible Humoresque, presented in its popular arrangement for violin and piano by Fritz Kreisler.

All works on this recording exemplify the vivid colour, touching melancholy and folkloric tunefulness that are trademarks of Dvořák’s style.

Bonus DVD 51 minutes long containing: Dvorak Violin Concerto in A minor, Op. 53 and Romance in F minor for Violin and Orchestra Op.11 from the Berliner Philharmoniker Digital Concert Hall (Recorded February 2012)

Read More