This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Classical Music

Evgeni Bohzanov invites you to a Voyage deep into the heart of German Musical Romanticism with this superb program combining moving transcriptions of works by Brahms and R. Strauss with Schubert's last sonata, one of the greatest masterpieces in music history. Born in 1984 in Bulgaria, Evgeni Bozhanov completed his studies in Essen and Dusseldorf with Professor Georg Friedrich Schenck. His international career launched following top prizes at international competitions including the Sviatoslav Richter International Piano Competition in Moscow, Queen Elisabeth Competition in Brussels, Van Cliburn International Piano Competition in Fort Worth, Texas, and International Chopin Competition in Warsaw. He has appeared as a soloist with orchestras including the National Orchestra of Belgium, Philharmonia Orchestra, Royal Liverpool Philharmonic Orchestra, and others.

The cover may clue you in that you're not getting a conventional recording of Vivaldi's Four Seasons here, but just in case that doesn't do the job, this is, in the words of violinist Roby Lakatos (who writes his own utterly distinctive notes), "Vivaldi alla Gypsy." This involves not only a cimbalom but, in some sections, wholesale rewriting of Vivaldi's score (the central movement of "Winter" brings the biggest departure). Lakatos says that he made the album because his label wanted him to record a classical repertory work, but the links between the gypsy tradition and the classics is centuries old, and Lakatos comes from a musical family that taught Franz Liszt back in the day. Lakatos is undoubtedly an exciting and dynamic player. One might object that the logic in when he sticks to the score and when he takes it merely as a stimulus to new music-making is not entirely clear. Moreover, Lakatos frames the Four Seasons with a pair of works by Kálmán Céski, whom he calls "my brother in soul." These are intended to situate the Four Seasons in history, but they proceed from dreamy choral sounds to rock and jazz accents, and it's not clear how they're supposed to do that. The program is so eclectic that it is in danger of not hanging together, and it concludes, to boot, with a vocally overdubbed Ave Maria by Patriarch Ilia II of Georgia that Lakatos calls "a return to Paradise, a tribute to the divine." Wild as it all sounds, there's an exuberance that keeps you listening. And the basic idea of a gypsy Four Seasons is indeed perfectly reasonable. Probably not a major entry in the Vivaldi canon, but certainly of great interest for those interested in the great tradition of gypsy music. - James Manheim, AllMusic Gudie

For the first time on audio and video recording, “the fastest-fingered fiddler in the world” Roby Lakatos is joined by “speed demon” guitar hero Biréli Lagrène for a unique tribute to Stephane Grappelli and Django Reinhardt. Both musicians performed in their youth with Stephane Grappelli. For this album they surrounded themselves with the superlative big band of the Modern Art Orchestra and by two first rate Jazzmen of the younger generation: thrilling drummer Niek de Bruijn and guitar sensation Andreas Varady. This is an explosive tribute to Manouche Jazz with standards such as “Djangology,” “Nuages,” “Stella by Starlight” and “Nuits de Saint-Germain-Des-Pres.”

Classical Music

One of the leading pianists of our time.

Sergio Tiempo is one of the leading pianists of our time, and this interesting disc of Liszt and Tchaikovsky finds him on good form in repertoire that suits him admirably. Tchaikovsky’s Piano Concerto No. 1 may be one of the best loved of all his compositions, and of all piano concertos too, but it is also one of the most Lisztian of Tchaikovsky’s works. He admired the earlier master and frequently turned towards him as an example, so to couple the concerto as here with music by Liszt is an eminently suitable choice.
 
Tiempo galvanises the performance with a thrilling opening phrase, and though the relationship with the orchestra doesn’t sustain this kind of frisson throughout, the performance always sounds well. The vivacity of the finale and above all, the charm of the central movement, bring many moments to savour.
 
Liszt’s Totentanz, first performed by Hans von Bülow at The Hague in 1865, is the master’s greatest work for piano and orchestra, despite the two concertos. It takes the form of a powerful set of variations on the Medieval plainchant the Dies Irae, which Liszt first encountered in the finale of Berlioz’s Symphonie Fantastique, of which he made a notable piano transcription. Tiempo’s live performance has real electricity, with slightly faster tempi than the benchmark recording by Krystian Zimerman (DG 423 571-2) but rather less rhythmic bite. This may be down to the relative lack of depth in the recorded sound, but either way Tiempo’s performance is highly rewarding, with a good piano-orchestra balance and a satisfying collaboration of intent.
 
Perhaps the highlight of the disc comes in the three Petrarch Sonnets from the second book of Années de Pèlerinage, a collection inspired by literary sources. The piano sound does full justice to Tiempo’s control of dynamic shadings, while his command of line and keyboard texture is no less impressive.
 
-- Terry Barfoot, MusicWeb International

After the tremendously successful first Rendez-Vous with Martha Argerich, this second volume will certainly thrill music lovers from all around the world again. For this new edition, Martha Argerich partners with high-profile musical friends such as Sylvain Cambreling, Renaud Capu�on, Charles Dutoit, Gabriela Montero, Edgar Moreau, Akane Sakai and many others in new repertoire like Mendelssohn' Second Piano Trio, or in stalwarts of her repertoire such as Tchaikovsky's First Piano Concerto, Beethoven's 'Kreutzer' Sonata or Schumann's Kinderszenen. In total: 6 albums that will allow you to marvel at the art of Martha Argerich and her friends in state of the art new recordings.

Roby Lakatos and Ensemble proudly present their new recording for avanticlassic and avantijazz. This luxurious new project is a fusion of the hugely popular Lakatos Gypsy style with a Yiddish and Klezmer repertoire. With support from the world-renowned Yiddish singer Myriam Fuks, the Italian accordionist Aldo Granato and the celebrated Franz Liszt Chamber Orchestra, this luxury album production will delight both fans of Roby and of Yiddish Klezmer music. A unique homage to some of the most inspiring tunes of western musical history with a very modern feel and with arrangements containing elements of Tango, Funk, Jazz and Waltz. This is an extremely refreshing and original musical journey.

The king of the violinists, lauded as "The fastest-fingered fiddler in the world" by The Daily Telegraph, the unique Roby Lakatos is back with a stunning new double album: La Passion! Entirely recorded live at the iconic Sydney Opera House, La Passion will allow music lovers to discover Gypsy supernatural violinist Roby Lakatos in an all new program including never previously recorded pieces such as Meadowlands (Songs of the Plains), the Flight of the Bumblebee, Valse Triste, Oblivion, Chiquilin, Those Were the Days, Du Schwarzer Zigeuner and many more gems new to Roby's discography. The second album is devoted to the most famous bits of Roby's repertoire with such beloved pieces as Two Guitars, Fire Dance, Black Eyes (Ochi Chornyje), Brahms Hungarian Dance No 5, Monti's Csardas... This album also features a phenomenal L'Alouette (The Lark) lasting more than twelve minutes and catching Roby Lakatos in a jubilatory improvisation. This recording will furthermore allow many listeners to discover an all rejuvenated Ensemble featuring an amazing array of young Hungarian musicians aged from only 19 to 25! La Passion captures the unique energy that emanates from Roby Lakatos' live performances. This double album constitutes a unique opportunity to immerse yourself in a world marked by musical freedom, warmth, matchless virtuosity and surprising repertoire ideas with long forgotten melodies set in totally new and original arrangements.

"Awarded a 'Choc' by French music magazine le Monde de la Musique, among others, for 'her extraordinarily powerful and virtuosic playing' and her 'unique sensibility ' (Liszt Recital - 1027-2), young virtuoso Polina Leschenko is back with a highly anticipated all Russian album.

Starting her program with two wonderful Waltzes by composer and pianist Mischa Levitski, Polina then proceeds with a stunning performance of Rachmaninov second sonata -in the revised version of Horowitz -. The second half of the program is devoted to a highly moving rendition of the complete first cycle of the Forgotten Melodies-including the Reminiscenza Sonata- by romantic composer Nikolai Medtner.
This Hybrid Super Audio CD surround, recorded in the world renowned acoustic of 'La Chaux de Fonds'(CH), is a must have for any piano lovers."

If you think that big, unfettered, golden-toned Romantic pianism is the exclusive property of the dead, then you've yet to hear Polina Leschenko. Her flamboyant technique and ardent temperament revel in rolling virtuosic paragraphs and bass lines that haven't soared so elegantly since Benno Moiseiwitsch's prime. Sample the Bach A minor Fugue's rhapsodic dynamism, or the Chaconne's fiery passagework, and you'll agree. On the other hand, Leschenko proves almost too freewheeling as she speeds up and slows down sections of the Faust Waltz, dissipating Liszt's carefully orchestrated keyboard textures. However, a similarly energetic, improvisatory, yet more forward-moving profile rivets your attention throughout the B minor Sonata. Anyone who can take total, incisive charge of the treacherous octaves and danger-packed leaps without the slightest banging has my admiration. On the basis of this disc, Polina Leschenko is a real virtuoso pianist, and an exciting one too. Recommended.

--Jed Distler, ClassicsToday.com

Classical Music

Classical Music

The third installment of Rendez-vous with Martha Argerich brings together captivating recordings from the international Festival Martha Argerich in Hamburg, showcasing an extraordinary lineup of soloists. Among the highlights are several first collaborations on record, notably between Martha Argerich, Anne-Sophie Mutter and Mischa Maisky, but also between Martha Argerich and Maria-Jo�o Pires. Many other prestigious guests include Renaud Capucon, Nelson Goerner, Gidon Kremer, Tedi Papavrami, Akiko Suwanai and Michael Volle. Particularly note-worthy is the deeply emotional interpretation of Brahms' second viola sonata, marking the poignant final public performance by the dearly missed pianist Nicholas Angelich, with violist Gerard Causse. All in all, this boxset stands as a jubilant tribute to the unparalleled artistry of Martha Argerich and to the incredible array of musical friendships she has develo-ped through the years.

Embark on a captivating musical journey with Roby Lakatos as he delves into the soul-stirring rhythms of Tango. Teaming up with the renowned Gang Tango, the King of Gypsy violinists invites you to explore the rich traditions of Tango from across the globe. From timeless classics like Oblivion and La Cumparsita to undiscovered jewels such as Rookgordijnen and Vale Mousiki, this album is a veritable treasure chest for lovers of passionate music-making.

One of the most powerful and enigmatic cellists, Alexander Kniazev was born in 1961 in Moscow. He started to study cello at the age of six with Alexander Fedorchenko and graduated from the Moscow Conservatoire in 1986. He is a prize-winner of the National Competition (Vilnius, Lithuania), of the Cassado International Competition (Florence, Italy), of the Chamber Music International Competition, in the ensemble with Ekaterina Voskressenskaya (Trapani, Italy), of the Tchaikovsky International Competition (Moscow, Russia), and in the UNISA International Competition (Pretoria, South-Africa). Described by BBC Music Magazine as “an artist who has an incredibly sense of musicality, elemental thinking and a phenomenally perfect technique”, cellist Alexander Kniazev joins forces with Kasparas Uinskas, a pianist of “breathtaking sensitivity” (Seen and Heard International), for a sublime program coupling the last two chamber music works of Johannes Brahms with transcriptions for cello and piano of the celebrated Four Serious Songs, three undisputed masterpieces.

In the opening Allegro con brio movement of the Piano Concerto No. 2, Beethoven follows Classical rules, concentrating on the two principal subjects of a double exposition—orchestra first, the soloist next—then a development section, and finally, a recapitulation. The main themes in their cheerful confidence are distinctly Beethoven’s. However, their working out is clearly influenced not only by Haydn but also by the recently departed Mozart. The middle movement—Adagio, in E flat major—hints at the slow movement of the Fourth Concerto to come a decade later. It is, in effect, an accompanied fantasia that resembles a carefree theme and variations, with an attention-getting solo recitative-like passage at the end. The twice-rewritten finale, Molto allegro, combines sonata and rondo forms, with perhaps the nicest surprise of all saved for last: a brief solo rumination which the orchestra brusquely interrupts with a terminal tantara. Mozart may have been his model, but the spirit here is pure young Beethoven.

Far from any kind of drama, the first movement of Ravel's G Major Concerto emphasizes joy, elegance, and cheerfulness. It all starts with a crack of a whip! Ravel sets out five thematic figures with Spanish influences and glissando-like jazz sounds; “circus-like elements” are also particularly evident in his extensive use of percussion. The Adagio offers the greatest possible contrast to this. The movement is characterized by simplicity and discretion. The final movement, Presto, abruptly tears the listener away from the melancholy mood. The music unfolds at a breathtaking speed, defined by circus-like percussion. The piano-playing is determined by frantic activity, indeed, by breathlessness. The motifs are sometimes onomatopoeic, now and then syncopated, at times march-like and grotesquely distorted, but always tempestuously pressing ahead until the fanfare from the beginning abruptly ends the work.

Throughout his lifetime, Gustav Mahler's musical imagination got sparked by the Wunderhorn anthology of folk poetry compiled by Achim von Arnim and Clemens Brentano. Whether autonomous lieder or conscripted into symphonic service, Mahler’s Wunderhorn settings represent some of his most exotic, exhilarating, but also visionary music. The Wunderhorn songs evoke and celebrate a lost era but they also prefigure its demise. Mahler captures this ambiguity in uncompromisingly melodious and idyllic, but also satiric, relentless and cruel music. In this soundtrack from the movie WUNDERHORN by Clara Pons, baritone Dietrich Henschel, “a towering figure, physically, intellectually, musically and theatrically” (Herald Scotland) gives a vibrant rendition of 24 Lieder from Gustav Mahler’s “Des Knaben Wunderhorn”, masterly accompanied by the Bochumer Symphoniker under the baton of Steven Sloane.