Music – Page 20 – musicophilesblog – From Keith Jarrett to Johannes Brahms

Isabelle Faust and Pablo Heras-Casado play Mendelssohn – Too HIP?

Isabelle Faust

If you are a regular reader of this blog, you know I’m a huge Isabelle Faust fanboy.

Actually, I was mentally expecting another 5 star album when I saw what was just released, not suprisingly given my previous reviews (see here for the violin concertos of Mozart and Brahms, Brahms violin sonatas, her Beethoven sonata cycle is another reference for me, or her recording of Schumann’s violin concerto and piano trios).

Mendelssohn: Violin Concerto / Symphony No.5 / The Hebrides – Isabelle Faust – Pablo Heras-Casado – Freiburger Barockorchester (Harmonia Mundi 2017)

Isabelle Faust Pablo Heras Casado Mendelssohn Violin Concerto Symphony No. 5, The Hebrides Freiburger Barockorchester 24 96 Harmonia Mundi

So, why don’t we get another 5 star review here?

Several reasons.

I’ve mentioned before in my review of the Mendelssohn’s symphonies by Yannick Nézet-Séguin that I just cannot relate very much to symphony no. 5. So I’ll leave the judgment of that work to others. I was hoping to like Heras-Casado’s previous recent recording of Mendelssohn’s 3rd and 4th (review not published), but found it a bit too rough on the edges to be really of my liking.

So, what about the centerpiece here, the violin concerto? Well, I cannot be to hard on Faust overall, her playing is flawless and impressive as usual. So what’s not to like?

Well, here we go into personal taste. I’ve always really liked the “historically informed” practice (HIP) using little vibrato, and often gut strings. I really feel it adds something to the music compared to the classical performance style of the 1960s-1980s.

And that’s exactly what Faust does here. Very, very, very little vibrato. Her Stradivarius, “Sleeping Beauty”, always had a slightly slimmer, shinier tone than others, which usually worked wonders for me.

But I’m sorry, it really doesn’t work for me at all with Mendelssohn. I just miss the fat romantic sound.

I’ve now played this album four times in the last days to see if it grows on me. And I just can’t get over it. So I’ll always refer you back to other recordings, like Janine Jansen’s beautiful album with Riccardo Chailly (mentioned in my 25 Essential Classical albums). Vibrato all the time (even though Chailly has done a good job putting a little bit of HIP into the Gewandhaus’ playing). And I just love it.

But that is not to say you shouldn’t check this album out. This really is purely based on personal preference, both Heras-Casado and Faust do an excellent performance.

The highlight of this album to me is the Hebrides overture, where the above mentioned roughness of the Heras-Casado and the Freiburger’s really works to paint the rough Northern landscape.

My review: 3 stars (and really only based on personal taste, you need to check it out to form your own opinion)

You can find it here (Qobuz) and here (Prostudiomasters)

UPDATE Sep 23, 2017: The Guardian very much disagrees with me and gives this album a five star review. They like the roughness. Well, as mentioned above, you hav to listen to it to be the judge.

UPDATE Oct 5, 2017: Dave Hurvitz on Classicstoday has his full review behind his paywall, but I guess the title of the review gives his opinion away: “CD From Hell: Faust and Heras-Casado Starve Mendelssohn”. looks like this album generates rather strong reactions one way or another.

Søren Bebe Trio: Home – A Review

We Get Requests

Just a quick intro here paraphrasing one of my favorite Oscar Peterson album titles: I get contacted quite regularly to review albums.

I usually check out what I receive when it sounds interesting, but so far I’ve never received anything for review that was musically interesting enough for me to write about.

Given that this is my personal blog and I don’t intend to make any money of this (as a matter of fact, this thing is even costing me a bit of money every year to maintain).

This nicely gives me the opportunity to write about only music I care about, one way or another.

Søren Bebe Trio

Søren reached out to me some weeks ago. He did it very smartly, with some namedropping, quoting that he’d recorded his latest album at the great Rainbow studios with the great Jan Erik Kongshaug. He really is an exceptional sound engineer, so my curiosity was piqued. Nicely enough, the album is available for streaming on Qobuz and TIDAL, so it was easy to check out (although he also provided me with a free download link, so full disclosure here)

I must admit I had never heard of him before, shame on me, but even if you care about the Jazz Piano Trio like me, it is really hard these days to keep track.

In a nutshell, Søren with his trio is based in Denmark, and plays with Kasper Tagel on bass and Anders Mogensen on drums.

Søren Bebe Trio – Home (2016 Out Here Music)

5707471047941_600

So what do you get? Let me put it in the Amazon way: Customers who bought this also bought…. Basically, if you like Keith Jarrett´s trio, and the nordic trios in particular in the style of Tord Gustavsen, you need to check this out.

You get beautiful, dreamy ballads like Floating (that the cover picture really represents well), but you also get slightly more uptempo pieces like A Simple Song. It really always stays very Scandinavian (although I always thought Denmark was different to Sweden and Norway, but here you find a lot of commonalities).

Check out the long ballad Trieste as a very representative example:

And all of this, not surprisingly given the recording venue & personnel, is very well recorded.

My rating: 4 stars. Definitely worth checking out.

You can find it here (Bandcamp)

Brahms in Cinemascope: Andris Nelsons and the BSO’s New Symphony Cycle

Brahms’ Symphonies

As you can see from the subtitle of my blog, I’m a huge Brahms fan.

Unfortunately, I haven’t been that happy with most of the Brahms symphony cycles recorded in the last 30 years. To be fair, even more than for other composers, the legacy left by the glorious recordings of Furtwängler, Klemperer, Walter, and even Toscanini, made it not easy to do something better (except for the recording quality).

We’ve had some very modern light “HIP” approaches from Gardiner and Dausgaard, both of which I appreciate as they give a very fresh point of view, and benefit especially the lighter middle symphonies (I consider 1 & 4 the heavyweights).

But unfortunately, most of the recent complete symphony recordings didn’t impress me much (see also this post where I was desperately, and in vain, searching for a modern reference of the 1st symphony). The only box I like (and still, not for every symphony) is Riccardo Chailly’s cycle with the Gewandhaus, which takes a nice middle way between the heavy romantic recordings of the past and the HIP inspired gut-string recordings of today.

Andris Nelsons

I’m a big fan of Andris Nelsons since he took over the Boston Symphony Orchestra. I put his Shostakovich into my best albums for 2016. I even specifically mentioned in said blog post about Brahms 1 that I was hoping for a new reference recording to come from Nelsons and the BSO.

Well, my wishes have been heard. The BSO has recently released their first full Brahms cycle. And I must admit I initially didn’t plan on buying it. The album is not available for streaming on my favorite streaming provider (except for the 4th), and the 1st is so critical to me that I didn’t want to buy blindly.

Well, then the September 2017 issue of Gramophone comes out, and gives it an “Editor’s choice”. I haven’t always been in agreement with Gramophone recently (see my comments about the 2017 Gramophone awards), but an Editor’s choice still means something. Then I started googling and also found this excellent review by John Marks, formerly with Stereophile.

So there you had me. I bought the box blindly.

Brahms: The Symphonies – Andris Nelsons – Boston Symphony Orchestra (BSO Classics 2017)

Brahms: The Symphonies - Andris Nelsons - Boston Symphony Orchestra 24/192

So, what do you get?

Well, let me start by saying, if you like Brahms, you need to have this box. Nelsons takes the learnings from the great classics, mixes in the beautiful BSO sound, and brings a very beautiful Brahms style to life.

I’d call it Cinemascope, as you really see all the colors, on a very big screen. His approach is never rushed. You get to see all the fine details that Brahms managed so well.

Let’s talk about the individual symphonies, and let’s take them backwards.

Symphony No. 4

I’ve mentioned above that No. 4 is one of the two heavyweights for me. I particularly love the variations of the fourth. I’ve mentioned Nelsons taking it relatively slow. He takes 10:08 for this movement. This is not yet the 11:29 of a Bruno Walter, but also not the 9:35 of a John Eliot Gardiner, or even the 9:23 of a Chailly (interestingly, Furtwängler uses 9:47, starting slowly but accelerating over time, which works for me).

But, this music can take the tempo. There is so much going on in these fantastic variations, and Nelson lays it all out in front of you. And he keeps the power during the entire movement, which isn’t easy.

Symphony No. 3

Going one back to no. 3: here the heavier approach works, but not as well as for no. 4. It gives the famous Poco Allegretto (known from movies and commercials) an even more sentimental character. In some way this speed, with the tremolo of the violins, makes the quiet anti-climax of the ending sound like we’ve just moved directly into a Wagner opera.

Brahms wasn’t a particular fan of Wagner, but actually this shows that while they may have disagreed on structure, there are more similarities between the two than you’d think.

Symphony No. 2

Symphony no. 2 is sometimes considered Brahms’ Pastorale. And here is where I have my biggest problem with the slower tempo, it tends to take away some of the lightness of this music. Here I’d much rather have a Chailly or Gardiner. That said, it is still a beautiful recording.

Symphony No. 1

And now let’s move to symphony no. 1, my absolute favorite of the four (here’s why). And you’ve probably guessed it by now: Nelson’s style is just perfect for this romantic work.

My appreciation of any interpretation of this symphony is often already formed in the first seconds: the chromatic increased with the dramatic tympani needs to grab me immediately (as do Furtwängler and Klemperer), otherwise, I’m already lost. Nelsons takes a very special approach here, the tension is there but he doesn’t release it yet. Beautifully done. Movements 2 and 3 are nice, but basically just fillers between movements 1 and 4. The finale really summarizes what I love about Brahms. A lot of variation and developments (you never know what comes next), and then so outstandinly beautiful moments as the famous horn solo (at 2:56 for Nelsons), followed by the even more amazing melody of the cellos (at 5:12).

It is still a bit too early days, but this has the potential to become my new modern reference version of Brahms 1.

My rating: 5 stars.

I was hesitating a bit, as you’ve seen above that not all of the four performances are 5 stars to me (1 and 4 certainly are, 3 up to a point, 2 would “only” be 4 star), but this is overall a very convincing new reading of the Brahms classics. Check it out!

You can find it here (BSO website) and here (Qobuz)

The Complete Beethoven String Quartets by the Takács Quartet – A Masterpiece

Beethoven’s String Quartets

I haven’t written that much yet about Beethoven’s string quartets. It is a hard to cover vast subject of 16 masterpieces, from the early ones that are still very reminiscent of Haydn, to the middle ones (mainly the Rasumovksy ones), that clearly match the power of the major Beethoven symphonies, to the entirely different universe that are the late quartets, that enter completely unheard harmonic complexities, that go even beyond his symphonic works.

How can one quartet really do them all justice? Typically, reviewers recommend getting different boxes for the different periods, and they are right.

However, some outstanding artists are able to just set a standard for all three periods. And the Takács Quartet is just one of them.

When Decca re-released the complete Beethoven box that was originally recorded in the early 2000s, I had to go back to it. I’m very glad I did, I was again blown away.

Beethoven: Complete String Quartets – Takács Quartet (Decca 2017 Remaster)

Takacs Quartet Beethoven Complete String Quartets Decca 24 48 2017 remaster

The Takacs Quartet has been around since 1975! They are probably one of the most outstanding string quartets ever. I’ve praised the Takacs´ several times already (See for example here my review of their fantastic Schubert), and remain a great fan of them.

In this box, in the early quartets of op. 18, you get all the Viennese lightness. These are just a pleasure to listen to. These works need to “swing”, and the Takacs just pull it off.

Moving to the more serious op. 59, the Takacs´switch gear appropriately. Take quartet no. 9, op. 59 no. 3, that starts with a very “serious” Andante con moto. This part occasionally reminds me of a Mahler symphony. And here, you get the full weight and emotional power this work requires, before moving on to the Allegro part, that gives you the Beethoven you are most likely to think of when you hear the name.

The late quartets again are a completely different animal. Let’s take for example op. 127. I have a pretty direct comparison, having only recently heard this played live by the equally fantastic Quatuor Ébène (see my concert review here). Comparing the two approaches here, let´s say we could characterise the Ébène’s live approach with “Passion”, and the Takacs’s with “Precision”. These are obviously simplifications, but you get the idea. Both are absolutely fantastic versions, and show you how much there is to discover in these masterworks, that are unfortunately not very approachable for the beginner. Give them some time, and they will grow on you.

If you only ever wanted to own one version of the Beethoven string quartets, this really would be the one to have. I´d strongly advise against having only one version, there are so many others to discover, and Beethoven’s quartets really are among the most outstanding masterpieces the Western world ever produced.

My rating: 5 stars

You can find it here (Prostudiomasters)

My Reflections on the 2017 Gramophone Awards – Part II

This is the continuation of Part I of my musings about the 2017 Gramophone Awards.

I had a to-do from this entry, which was to check out Hervé Niquet´s latest Cherubini album.

Cherubini / Plantade: Requiems – Hervé Niquet – Le Concert Spirituel (Alpha 2017)

Cherubini / Plantade: Requiems pour Louis XIV and Marie Antoinette Hervé Niquet - Le Concert Spirituel Alpha 2017

Not surprisingly for a Hervé Niquet album, this one is really good. I´m not such a big fan of Cherubini in general, but this one is really with checking out.

My rating: 4 stars

I´ll skip the opera section, as I´m not really an opera expert in the first place, and didn’t find anything too interesting in this section to try out.

Orchestral

Haydn: Il Distratto – Haydn 2032 no. 4 – Giovanni Antonini – Il Giardino Armonico

Haydn 2032 no. 4 Il Distratto Giovani Antonini Il Giardino Armonico

Antonini´s Haydn is as good as ever. This has the potential of being the reference Haydn cycle of the 21st century (but we´ll have to wait another 15 years to find out). See my review of vol. 3. My rating: 4 stars (this is absolute 5 star playing, but I just can´t get myself to give a Haydn symphony 5 stars…)

I’m going to skip Mahler´s 10 by Dausgaard. I´m not enough of a fan of the 10th (which isn’t a complete symphony in the first place) to be able to give a proper judgment here.

Shostakovich Symphonies No. 5 and 9 – Nelsons – Boston Symphony (DG 2017)

Shostakovich: Symphonies Nos. 5, 8 & 9 - Andris Nelsons - Boston Symphony Orchestra

This was part of my own top 5 albums of 2016, and yes, this is true 5 star territory!

I´m going to skip again over Sibelius 3 & 6 by Vänskä, I´m not familiar enough with Sibelius symphonic work to really be able to judge. But everybody I know that knows something about Sibelius tends to recommend the Vänskä cycle, so I assume there must be something to it.

Vasily Petrenko´s Tchaikovsky get´s a second recommendation here (after the violin concerto which didn’t impress me much). And sorry, the Pathetique again isn´t my cup of tea, so no comment from my side here. Same comment applies to Bychkov´s recording of the same work, you´ll have to look elsewhere for a review of this.

I´m going to skip over Recital and Solo Vocal categories as well. The only album that appealed to me in the former is Anett Fritsch´s Mozart album, which is quite well done, but for me no match to Sabine Devielhe´s solo album last year.

And in the Solo Vocal, Goerne´s Brahms album is a no brainer, as I love his voice, but again I don’t feel comfortable enough properly reviewing Lieder, this is still a territory I need to explore slowly and cautiously. I´m sure I´ll get there eventually

Conclusion

So, there you have it. As you can see from my two posts here, I´m not fully convinced by this year´s selection.

Is there anything you must buy?

I´d say, the only must-haves in this selection are the Shostakovich with Nézet-Séguin, Perahia´s French Suites, and Suzuki´s c-minor mass (with Gardiner´s Matthew Passion just behind).

Faust´s violin concertos, Antonini´s Haydn, and Niquet´s Cherubini are a very good recording of only nice to have (to my ears) music.

I´d probably pass on most of the others.

What do you think? Am I completely off? Anything I´ve missed? Agree? Disagree? Let me know in the comments!

Tingvall Trio’s New Album Cirklar – A Review

Tingvall Trio

When I started this post, I was suprised to notice that I hadn’t written a single post on this trio yet. I kind of assumed I had. But my search function told me otherwise.

Martin Tingvall’s Hamburg, Germany-based piano trio is a pretty international affair. Tingvall himself is Swedish, his Bass player Omar Rodriguez Calvo is Cuban, only the drummer is German.

They have a pretty strong following in Germany, but start to get better known beyond the borders.

Let me open a parenthesis here: I’m still surprised that Jazz is a very regional affair. You’d think that in the days of the internet any artist can be heard and known everywhere. And especially in a niche area like Jazz people wouldn’t really care where an artist comes from. But then again, quite often I see artists available due to some weird label rights in Europe, but not in the US, or vice versa.

Probably it boils down to the fact that album sales really don’t matter that much any more these days, and concerts are the main way a Jazz artists gets to their audience these days. And concerts quite often remain a very local affair. Great artists like Triosence for example rarely venture out of their native Germany. Parenthesis closed.

Tingvalls albums in the past have been very consistent, weird-sounding (to non Swedish ears) Scandinavian names like Vägen, Vattensaga, or Norr, and also have followed a certain style.

Tingvall Trio: Cirklar (Skip Records 2017)

Tingvall Trio Cirklar 24/96 2017 Skip Records

The latest album keeps this consistency. A weird name (that the booklet doesn´t bother explaining), and a very Tingvall-like Scandinavian-inspired jazz.

If you´ve followed my blog for a bit you know which kind of style I like in piano trio. Basically either the Oscar-Peterson swinging and grooving style, or the more melodic approach.

Tingvall clearly is the latter. They do groove up to a point in the faster tracks, but the real beauty is revealed in the slow tracks, that evolve into always interesting melodic and harmonic developments.

Track 4, Black Molnen is a perfect example of this, the type of ballad I just love.

Some may ask: but where is the Jazz in that? And I agree, this music is probably borderline in that respect. But to me, the melodic and harmonic beauty is just what I’m looking for.

As mentioned above, faster tracks on this album don´t always work for me. Track 5, Skansk Blues, is too much of a regular blues to be attractive. Blues obviously live from simplicity, but here the recipe just gets a bit too repetitive.

The title track, another ballad, then again gives me exactly what I want from Tingvall. If you like this track, buy the album.

That’s not to say that I only like the slow tracks on this album. Tidlös for example is a very groove uptempo track that has just the right amount of creativity. And Bumerang (See clip above) is quite well done, too.

Finally, Elis Visar really gives you the feeling of an open Nordic landscape.

Overall, really worth checking out.

My rating: 4 stars

You can find it here (Qobuz) and here (Prostudiomasters)

My Reflections on the 2017 Gramophone Awards – Part I

2017 Gramophone Awards

The 2017 Gramophone Awards nominees have been published. As in the two previous years(2015 and 2016, let me add my comments and reflections on the proposed selection.

Overall, this year I was suprised how very few of the recordings I actually knew.

Therefore, this year I’ll only do two overall post on this, unlike the posts per category I did in recent years.

Baroque Instrumental

Bach: Orchestral Suites: Zefiro

Johann Sebastian Bach: Overtures - Zefiro - Alessandro Bernadini - Arcana - 2017 (24/96)

I very much liked this recording, giving it 4 stars here. Is it good enough for album of the year? Well, maybe.

Bach: Goldberg Variations – Mahan Esfahani

I was never as enthousiastic about this album as was Gramophone, my rating in my review was a lukewarm 3 stars. So definitely not my album of the year.

I haven’t heard any of the other albums, with some Telemann and Vivaldi, but will check in and maybe report back later.

Baroque Vocal

Hyperion doesn’t stream, so I cannot comment about Cohens/Arcangelos cantata album.

Bach: Matthew Passion – Gardiner

Bach St Matthew Passion John Eliot Gardiner SDG 2017 24/96

As reviewed here, I fully agree that this is a five star album very much worth having.

I haven’t heard any of the other recommended albums, from Blow (never heard that name before), Couperin, Monteverdi and Scarlatti, but will check them out, as they are by Les Arts Florissants and Christophe Rousset among other, that I really admire.

Chamber

I haven’t heard any of the first three recommended albums, as they are all 20th century stuff which really isn’t my cup of tea, from Ades, via Bacewicz, Berg, Schönberg, and Webern. I’ll leave this to others.

I´d be interested in trying the Bruch String Quartets as I have very little chamber music from this composer, but Hyperion doesn´t stream so I have no way of risk free trying.

Then there are two Schubert albums. Quatuors 12 and 15 by the Doric Quartet. I have only heard it once on the radio (again, also Chandos doesn´t stream), and liked it, but wasn´t blown away. Not interesting enough for me to spend money blindly on it.

Finally, there is the Death and the Maiden and a quartet by Sibelius by the Ehnes Quartet. Unfortunately, Onyx is another label that doesn´t stream.

So basically, there´s unfortunately not a lot I can contribute to this category, which I usually love.

Choral

Several albums in here that are just not my cup of tea, eg. Berkeley or Elgar. Even Haydn´s Season, here with Paul McCreesh, is not a piece of music I´m particularly passionate about. Better to shut up then.

I´m more curious about the Cherubini album by Hervé Niquet, I´ll check that one out later today.

There have been a number of recent recordings of Rachmaninov´s All-Night Vigil, and I´m also very interested by this latest recording of John Scott. I will report back on this one as well.

And then there is my highlight of the year:

Mozart: C-minor Mass – Mazaki Suzuki

Mozart: Great Mass in C-Minor Exsultate Jubilate Masaaki Suzuki Bach Collegium Japan BIS 2016 24/96

Truly a new reference, see also my review here

Concerto

Let me maybe start by the one recording I can really recommend in here:

Mozart: Violin Concertos – Isabelle Faust

Mozart: Violin Concertos Isabelle Faust Il Giardino Armonico Giovanni Antonini Harmonia Mundi 2016 24/96

I gave it a four star rating, as I don´t consider Mozart´s violin concertos to be essential, but the playing is truly five star.

I´m not a very huge fan of Lisa Batiashvili´s Sibelius and Tchaikovsky album, but this is more due to Barenboim, not Batiashvili´s fault. Augustin Hadelich Tchaikovsky is straightforward, but also not that much my cup of tea.

I will certainly check out Alexandre Tharaud´s Rachmaninov album and report back.

I can´t comment on the albums by Adams and Beach.

I´ll skip the contemporary and early categories, as I don´t feel qualified enough here.

Instrumental

Bach: French Suites – Murray Perahia

Johann Sebastian Bach: The French Suites - Murray Perahia (24/96) Deutsche Grammophon 2016

Yes, absolutely, great album. A must have. See also here

Bach: Goldberg Variations: Beatrice Rana

Bach: Goldberg Variations - Beatrice Rana Warner Classics

I´ve now played this album many times, and still haven´t fully made up my mind. I kind of like it, but it´s really not my personal reference.

I´d like to comment about Cedric Tiberghien´s Bartok album and Pavel Koselnikov´s Chopin Mazurkas, but due to Hyperion´s no streaming policy I can´t. Side note: I really understand why labels don´t want to support streaming, as the business model is not very attractive, but on the other hand it really limits discovery. Maybe labels should invent a streaming model where you can listen to an album only 2-3 times and then need to purchase it. I find that album´s I can´t test I often don´t buy.

Liszt: Transcendental Etudes: Daniil Trifonov (Deutsche Grammophon)

Liszt: Transcendental: Daniel Trifonov Deutsche Grammophon

I haven´t reviewed this album yet, but have listened to it many times. And yes, it is very good, justifying the Artist of the Year he received last year.

Mozart/Schumann: Fantaisies – Piotr Anderszewski (Warner)

Mozart/Schumann.: Fantaisies - Piotr Anderszewski Warner

I wasn´t such a big fan of Anderszewski´s Bach album that won 2 years ago, but this one (only one listen so far, so beware) sounds really very good. I´ll report back.

Click here for Part II of this article.

Isabelle Faust

Mendelssohn: Violin Concerto / Symphony No.5 / The Hebrides – Isabelle Faust – Pablo Heras-Casado – Freiburger Barockorchester (Harmonia Mundi 2017)

Share with

We Get Requests

Søren Bebe Trio

Søren Bebe Trio – Home (2016 Out Here Music)

Share with

Brahms’ Symphonies

Andris Nelsons

Brahms: The Symphonies – Andris Nelsons – Boston Symphony Orchestra (BSO Classics 2017)

Symphony No. 4

Symphony No. 2

Symphony No. 1

Share with

Beethoven’s String Quartets

Beethoven: Complete String Quartets – Takács Quartet (Decca 2017 Remaster)

Share with

Cherubini / Plantade: Requiems – Hervé Niquet – Le Concert Spirituel (Alpha 2017)

Orchestral

Haydn: Il Distratto – Haydn 2032 no. 4 – Giovanni Antonini – Il Giardino Armonico

Shostakovich Symphonies No. 5 and 9 – Nelsons – Boston Symphony (DG 2017)

Conclusion

Share with

Tingvall Trio

Tingvall Trio: Cirklar (Skip Records 2017)

Share with

2017 Gramophone Awards

Baroque Instrumental

Bach: Orchestral Suites: Zefiro

Bach: Goldberg Variations – Mahan Esfahani

Baroque Vocal

Bach: Matthew Passion – Gardiner

Chamber

Choral

Mozart: C-minor Mass – Mazaki Suzuki

Concerto

Mozart: Violin Concertos – Isabelle Faust

Instrumental

Bach: French Suites – Murray Perahia

Bach: Goldberg Variations: Beatrice Rana

Liszt: Transcendental Etudes: Daniil Trifonov (Deutsche Grammophon)

Mozart/Schumann: Fantaisies – Piotr Anderszewski (Warner)

Share with