Review - Bronsart and Henselt Piano Concertos (Paul Wee)
‘Wee is the man for the moment, no obstacle insurmountable’
Reviews
Review - Lutyens: ‘Piano Works, Vol 3’ (Martin Jones)
‘I am in thrall to Jones’s peerless playing of them, and Resonus’s superb sound’
Review - Rachmaninov for Two (Sergei Babayan, Daniil Trifonov)
‘This is dazzling piano-playing, to be sure, with an enviable display of clarity’
Review - JS Bach: Six Keyboard Partitas, BWV825‑830 (Martin Helmchen)
‘Helmchen shows himself as eloquent an advocate for these masterpieces, not as any pianist, but as any artist of the keyboard active today’
Review - ‘Méditation’ (Andreas Staier)
‘The rich tapestry of the Prelude unfolds in an atmosphere of serenity, leavened here and there by the joy of discovery’
Review - ‘The Vienna Recital’ (Yuja Wang)
‘This is a remarkable recital from a truly astonishing pianist’
Review - Scriabin & Scarlatti (Julius Asal)
‘The combination of composers, two centuries apart and radically different, amounts to more than mere novelty’
Bartók: Bagatelles. Janáček: On an Overgrown Path, Book 2. Szymanowski: Mazurkas, Op 50 (Piotr Anderszewski)
This is an extraordinary album; hardly for those of a nervous disposition or for late-night listening
Wagner: Famous Opera Scenes (Nikolai Lugansky)
Lugansky takes us on an eternal journey, metamorphosing his Steinway into a larger-than-life orchestra intricate in texture, colour and associative imagery
‘Diaries’ – Schumann: Kinderszenen, Op 15. Arabeske, Op 18. Davidsbündlertänze, Op 6 (Tiffany Poon)
Davidsbündlertänze, the highlight of the album, receives one of the finest interpretations I know
Grieg: Piano Concerto, Op 16. Schumann: Piano Concerto, Op 54 (Elisabeth Leonskaja)
Leonskaja seems to hold the Grieg Concerto – which, despite many similarities to the Schumann, postdates it by 23 years – at something of an arm’s length
‘La Danse’ (Martin James Bartlett)
One of the most playful sprints through Ravel’s La valse I’ve heard
Mozart: Piano Concertos – No 18, K456; No 21, K467 (Jonathan Fournel)
Fournel’s assured pianism belies the fact that this release marks his recorded concerto debut
‘Berlin 1923’ – Beethoven: Piano Concerto No 1, Op 15. Schulhoff: Piano Concerto No 2, Op 43 (Herbert Schuch)
The finale is a total success, with good dynamic variety and a marvellously rowdy delivery of the central subordinate theme
Field: 18 Nocturnes (Tyler Hay)
Tyler Hay’s performance draws as much attention to Field’s similarity with Dussek, Hummel, late Clementi and even Beethoven as to his influence on Chopin
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