“This first volume in the complete cycle must already be given pride of place in the discography,” declared Classica Magazine upon the release of Prokofiev’s Sonatas nos. 2, 6, and 8 (awarded a ‘Choc’ in 2016).

With this new volume, Alexandre Melnikov has chosen to delve into three distinct periods of the composer’s career, ranging from the dazzling though seldom-heard No. 4 to the magisterial No. 9.

In between those two, the sonata no. 7 once again evokes the troubled atmosphere characteristic of the three so-called ‘war sonatas’. Sviatoslav Richter claimed to have learned the piece in a mere four days.

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REVIEW:

The second instalment of Melnikov’s Prokofiev sonatas covers a kaleidoscope of temperaments. For all its vacillations, something in Melnikov’s choice of colours conveys an overall feeling of austerity and looming danger that is not quite like anyone else’s vision.Few pianists have come this close to Richter in making such a strong case for Nos. 4 & 9.

– Gramophone

Boogie Woogie is an style of music that began in the 1920's, and by the '40's was the sound of popular music. It's rhythm and energy made it the perfect stepping stone in to what later became Rock & Roll. This massive 3 CD collection has 75 songs, and showcases the best of the Boogie Woogie era. Included are hits from Tommy Dorsey, Andrews Sisters, Stan Kenton, Benny Goodman, and Lionel Hampton.

A MusicWeb International Recording of the Month!

This is a marvellous new B Minor Mass and it is, without a doubt, the most French-sounding version of the piece to have yet come my way.

That might sound like a lazy stereotype. After all, it’s performed by that most renowned Francophile among musicians, William Christie, who has dedicated his life to rehabilitating the French Baroque and whose efforts have meant that names such as Lully, Rameau, Charpentier and Marais have been not only rescued from their specialist niche but have been given an uncontested place among the concert programmes of the Anglo-Saxons. With his ensemble Les Arts Florissants he has become one of the greatest champions of that music, so it’s hardly surprising that some of the interpretative dust of the French Baroque should rub off onto his Bach.

It’s not just a trope to describe his Bach as Gallic, however. It’s there right from the start. The opening Kyrie is the most mellifluous and honeyed I have heard since the advent of historical performance practice. The two great fugues proceed with cultured smoothness that sounds as though they have one eyebrow perpetually raised. It’s a sound of which, I suspect, Lutheran Bach would have profoundly disapproved. I rather liked it, however, and as a change from what has become the norm of period practice I found it very effective.

That’s only one example of one of the performance’s wider traits. Throughout, it has an elegance, an élan, a nonchalance, almost, that would make them seem entirely at home if performed in the court of ancien regime Versailles. The solos with their instrumental obligatti, for example, sound refined and polished in a manner that is a hundred miles away from the church and more from the realm of the theatre. There’s nothing wrong with that, though, and it’s in keeping with Christie’s vision. My favourites included Katherine Watson in the Laudamus te, with a wonderfully dusky violin, and André Morsch’s playful combat with the horn in the Quoniam. Tim Mead’s lovely countertenor is a repeated highlight, be it slotting into Watson’s soprano in the Christe or sustaining a blisterinly poignant Agnus Dei at the end.

Not only are the orchestral and instrumental playing super throughout, but the choral singing is top notch, too. That, however, will come as no surprise to those how know and love the work of Les Arts Florissants, and it’s great to hear them tackling one of the central works of the German repertoire. It’s a Teutonic world that they can’t be too practised in, but they bring something remarkably distinctive to it.

The main reason for the performance’s success, however, is Christie himself. Bringing his lifetime’s experience to the B Minor Mass must, surely, have been a labour of love rather than an expectation, and the results are wonderful. There is majesty aplenty in the Gloria, whose opening casts off the mellifluousness of the preceding Kyrie as though emerging into a new light, producing rumbustious, gloriously winning tone that brought a broad grin to my face, as did the outer bookends of the Credo. The Sanctus is taken at a rapid pace, with brilliantly detailed violin inflections to enliven the texture, and the final Dona nobis pacem is brilliantly paced.

Perhaps the highlight of the work is the Easter sequence, however, and, in particular, the Crucifixus. Here you get the unmistakeable whiff of the Opéra, because Christie slows down the pace and stresses the beat with what comes close to string (and voice) sforzandi in a way that surely mimics the nails being repeatedly battered into Christ’s suffering body. It’s this movement that will tell you whether this performance is for you. Some might find it vulgar or too overtly theatrical. I thought it wonderful, an example of the conductor using his experience in the theatre to enlighten and deepen his vision of Bach.

Choose for yourself, but I thought this the most memorable B Minor Mass to have come my way since the (entirely different) performance from John Butt and the Dunedin Consort. Explore it and be surprised.

– MusicWeb International (Simon Thompson)

IDEALIST

A few years after a complete recording of Mozart’s solo piano works that has gradually come to be regarded as a benchmark, Kristian Bezuidenhout has taken all the time he needed to tackle Haydn, the other towering figure of the Viennese Classical keyboard repertory: “Preparing for this recording has been a vivid reminder that it is remarkably difficult to play Haydn’s music well, but that with enough care, and attention to detail, his music has the potential to come jumping from the page. It would be hubris to suggest that I am even close to unlocking any of its secrets, but I am so humbled by the sheer beauty, humanity, wit and delightful irony of this music, that the desire to continue is irresistible.”

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REVIEW:

The listener is drawn in by the myriad subtleties of Bezuidenhout’s playing and by the glorious sounds he draws from his instrument. Soon you’re hanging on every note of this sequence that seems to travel from darkness to darkness. Most important, though, is Bezuidenhout’s playing itself. Technique is obviously not an issue. Decoration, too, is sparing rather than trowelled on. This is the very opposite of ‘look-at me’ pianism.

– Gramophone

Reissue of this 2006 album from Swiss/Dutch singer and composer Susanne Abbuehl. Susanne was born in Berne in 1970. She was drawn to music and language early on and began studying the harpsichord and composing her own songs as a child. At seventeen, she moved to Los Angeles, where she graduated from high school and started taking lessons in classical singing.

PLAY BLUE: OSLO CONCERT

Mendelssohn: Piano Concerto No. 2; Symphony No. 1 - Mendelssohn's first symphonic work scored for full orchestra, the Symphony Op.11 in C minor, paved the way for even greater examples of the genre he was soon to produce. The concert overture Die sch�ne Melusine and the sparkling Piano Concerto No.2 rely on the type of orchestration and harmonic language that are best served when played on period instruments, as heard here. Devoid of the atmosphere of Romantic doom and gloom, nearly every page of both scores is marked by an exuberant cheerfulness, youthful drive and irrepressible energy in these splendid performances from fortepianist Kristian Bezuidenhout and the Freiburger Barockorchester led by Pablo Heras-Casado.

On April 9, 2011 Keith Jarrett returned to South America for the first time in decades to perform three solo concerts. The third and final concert found him in Rio de Janeiro in front of a packed house and enthralled audience. Inspired by the electrifying atmosphere, the pianist pulls a broad range of material from the ether, thoughtful / reflective pieces, abstract sound-structures, pieces that fairly vibrate with energy. The double album climaxes with a marvelous sequence of encores.. 40 years ago this year, Keith Jarrett recorded his first ECM disc, the ground-breaking, solo piano FACING YOU. He has refined his approach to solo music many timers since then, always finding new things to play.

SUN CLOUD / NIGHT CLOUD

AMERICAN GARAGE: TOUCHSTONES SERIES

2016 release. Nine time Grammy award winner Norah Jones returns to the piano and her roots on her sixth solo album Day Breaks, a kindred spirit to her multi-platinum breakthrough Come Away With Me. Features legendary jazz musicians saxophonist Wayne Shorter, organist Dr. Lonnie Smith, and drummer Brian Blade. "This new album feels full circle because I'm going back to my early influences," says Jones. "After the first record, I drifted away from the piano a little bit. I still played it, but was more inspired to write on guitar. I really loved playing piano on this record." With the help of co-producer Eli Wolf, Jones enlisted renown jazz musicians such as drummer Blade, organist Smith and saxophonist Shorter for recording the album. Blade previously worked with Jones on her debut, Come Away with Me. Having just had a baby and a piano in her kitchen, Jones wrote much of the album during late-night sessions at the piano while drawing influence from a wide range of jazz music. There are three cover songs on Day Breaks: "Peace", originally performed by Horace Silver, "Fleurette Africaine (African Flower)", originally performed by Duke Ellington and "Don't Be Denied", originally performed by Neil Young.

HIEROGLYPHEN DER NACHT

The specially-priced 2-CD set documents a stunning live performance in front of a huge audience at the open air Odeon of Herodes Atticus, as the uniquely-expressive saxophonist Charles Lloyd, and Maria Farantouri, Greece's voice of resistance, come together beautifully and hauntingly.

IL PERGOLESE