Musik / klaverkoncerter

Gershwin rhapsody


Anmeldelser (36)


The independent

d. 11. feb. 2011

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Andy Gill

d. 11. feb. 2011

"The combination points up the intrinsic balance between the formal and the demotic that drives "Rhapsody in Blue", and works well, save for some rather over-aggressive percussive flourishes around the 12-minute mark. "Catfish Row", an abbreviated suite culled from Porgy and Bess, is exuberant and involving".


Kulturradio RBB

d. 15. mar. 2018

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Hans Ackermann

d. 15. mar. 2018

"Gershwin zwischen Jazz und Klassik, zwischen Ernst und Unterhaltung ist das Thema dieses Konzeptalbums ... Das schönste Stück des Albums ... "Blame it on my youth". Kirill Gerstein ist dabei im Duo mit dem legendären Jazz-Vibraphonisten Gary Burton zu hören. Zwei Musiker in einem intensiven Dialog ... Kirill Gerstein findet ...die richtige Balance zwischen E und U. ... Es ist einfach Musik!".


Classics today

2008

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David Hurwitz

2008

"The quiet moments here are exquisite. Anne-Marie McDermott is a sensitive pianist with a lovely, freely singing style that catches the improvisatory freedom of certain passages just perfectly ... That said, in the rambunctious passages in the Rhapsody or the outer movements of the concerto (the finale most of all) the music simply needs a more vigorous rhythmic thrust, more sass, more jazzy virtuosity from all concerned ... But where it's good, it's really, really good".


DR musik

2011 uge 13

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2011 uge 13

"Og i mødet hører man, hvordan Gershwin revolutionerede musikken. Ikke kun ved at blande jazz med klassisk - endnu mere vidtrækkende var den energi, han gav musikken. Det er lyden af USA, der fræser ind på verdensscenen med gashåndtaget i bund ... Udover Rhapsody in Blue får man Gershwins Klaverkoncert, hvor han i endnu højere grad udfordrer de klassiske traditioner. Klaverkoncerten er genial og tåler sammenligning med datidens europæiske klaverkoncerter af Rakhmaninov og Ravel".


MusicWeb international

2018 April

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Michael Cookson

2018 April

"Titled "The Gershwin Moment" this album of George Gershwin works features the outstanding playing of Kirill Gerstein, the Russian/American pianist, all captured in live performance ... Singer Storm Large ... performs "Summertime" with aplomb, making a glorious sound, rich and earthy with marvellous diction. The solo piano works, ideal encore pieces, Earl Wild's "Virtuoso Etudes" after Gershwin and Oscar Levant's "Blame it on my Youth" for piano and vibraphone (played by Gary Burton) are given a captivating bluesy feel by Gerstein which adds to the jazz elements of the writing".


Presto classical

d. 28. feb. 2018

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Katherine Cooper

d. 28. feb. 2018

"Editor's choices - February 2018: Gerstein trained as a jazz pianist alongside his classical studies, and it shows: the Rhapsody (give here in its original jazz-band incarnation) comes up as fresh as paint in a performance that sounds as if it's being extemporised after-hours among friends, and the langorous but blissfully unsentimentalised Summertime (with Pink Martini vocalist Storm Large) is irresistible".


The observer

d. 4. mar. 2018

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Fiona Maddocks

d. 4. mar. 2018

"Including works by Earl Wild and Oscar Levant, the disc gives full rein to Gerstein's jazz talents in all their liquid, apparently effortless variety. The Rhapsody is heard in a live performance - full of fat, moody brass - of the jazz-band arrangement".


jcklassisk

d. 29. jan. 2020

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John Christiansen

d. 29. jan. 2020

"Danacord ... er i gang med at indspille en antologi af amerikansk klavermusik, og det med en fremtrædende amerikansk pianist Cecile Licad. Helt frisk er vol. 4, der indeholder al George Gershwins musik for klaver med orkester. Cd'en må blive en succes ... [I] et hovedværk som "Rhapsody in Blue" ... lever man med fra første takt med saxofonens stemningsgivende optakt ... Cecile Licad swinger herligt i hver en tone. Det er både jazz og klassisk ... men først og fremmest er det rytmisk inciterende. Endnu en "Second Rhapsody", den kendte "Concerto i F" og variationer over "I Got Rhytm" er med. Også den rytmiske side klares overbevisende af Sønderjyllands Symfoniorkester ... Der spilles flot, præcist og medrivende på optagelsen i Alsion koncertsalen".


MusicWeb international

2020 February

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John France

2020 February

"Jeremy Nicholas's comprehensive liner notes include a fair bit of Gershwin anecdote and trivia. This makes for enjoyable reading. The South Denmark Philharmonic Orchestra with their conductor Gerard Salonga give good accounts all four works. I noted the classical mood in much of this recording. That does not imply that Cecile Licad does not handle the jazzy bits with impeccable taste. She has simply managed to create an interpretation which presents classically valid structures, as opposed to series of jazz-infused idioms threaded together like a string of pearls".


The observer

d. 17. feb. 2024

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Fiona Maddocks

d. 17. feb. 2024

"Variously for two pianos, piano solo or piano and voice (with Feinstein adding vocals on four tracks), the album includes two world premiere recordings, but most of the tracks are Gershwin mainstays ... They show off Feinstein's improvisational skills and Thibaudet's concert-pianist virtuosity, in arrangements by Earl Wild, Tedd Firth and Feinstein himself. Two brief medleys on the Rhapsody just about justify the album's title but no one should mind. The playing is toe-tapping, witty and irresistible".


MusicWeb international

2024 April

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Philip Tsaras

2024 April

"George Gershiwn always had a foot in both the classical and Broadway camps and this disc too has a foot in both camps by bringing together Broadway star and cabaret artist, Michael Feinstein and classical pianist Jean-Yves Thibaudet ... One would expect Feinstein to be at home in such a programme, but Thibaudet is no stranger to the jazz idiom, having recorded albums of music by Bill Evans and Duke Ellington ... It is evident throughout that the two performers have a great rapport and are enjoying themselves immensely and that sense of fun and discovery certainly comes across ... A class act indeed and one that I found thoroughly enjoyable".


Jazz views

2020

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Jim Burlong

2020

"The mission statement of ACT Records has for a long time been, "In The Spirit Of Jazz", and this is something that is important for the listener to keep clearly in mind when experiencing this recording for the first time. In itself it is a magnificent piece of work by one of the leading contemporary jazz pianists in Europe, alongside a phenomenal orchestra and a virtuoso classical violinist. But also, it has to be said that there is very little jazz involved, even by the standards of today's very broad church ... Not withstanding the absence of jazz per-say, mentioned above, this is a recording of shear beauty from start to finish and should prove an excellent addition to almost anyone's musical collection".


Jyllands-posten

d. 17. aug. 2012

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Jens Povlsen

d. 17. aug. 2012

"Han har de mange delikate detaljer med, men det kniber for den 34-årige brite, Freddy Kempf, at få Gershwins musikalske frihed ud i fingrene. Albummet, der samler Gershwins musik for klaver og orkester, lykkes nu langt hen ad vejen. Sprællene har han imidlertid gemt godt væk, og Gershwins mørkeblå rapsodi slår aldrig gnister - overskuddets ro og det hurtige optræk mangler".


Kristeligt dagblad

d. 9. mar. 2011

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Jakob Holm

d. 9. mar. 2011

"Og vi møder begge verdener, den klassiske og jazzens, for det er den italienske jazzpianist Stefano Bollani , der optræder som solist over for Leipzigs Gewandhausorkester dirigeret af Riccardo Chailly. Og det går hedt for sig... det er, som om at orkestret og dirigenten i mødet med en " rigtig" jazzmusiker har tænkt, at nu skulle de vise ham, at man som klassisk musiker også kan swinge. Hele vejen igennem bi-beholdes blues-fornemmelsen ved hjælp af et charmerende rubato-spil, der understreger Gershwins slægtskab med Stravinskij".


Politiken

d. 3. mar. 2011

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Thomas Michelsen

d. 3. mar. 2011

"På baggrund af et vrinskende skarpt symfoniorkester med smægtende violiner og horn, der hives helt frem til scenekanten, er det en ægte jazzmand, der på sin nyeste cd leger med Gershwins klaverudfordringer. At Bollani har en finpudset teknik svarende til en klassisk koncertpianists, gør ham ideel til opgaven ... Ved tangenterne er den altid legesyge italiener Stefano Bollani ikke garant for en historisk korrekt indspilning. Men den tekniske overlegenhed og betydelige frihed, både med hensyn til frasering og noder, hvormed klaverstemmen leges frem under Bollanis fingre, er svær at matche - og umulig ikke at elske!".


Kristeligt dagblad

d. 23. mar. 2020

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Peter Dürrfeld

d. 23. mar. 2020

"Fra Danacord kommer som den fjerde udgivelse i serien "American Piano Music", en cd med Gershwins samlede værker for klaver og orkester. Cecile Licad, der også medvirkede i de første tre udgivelser i serien, sidder ved tangenterne, og hun er ideel til denne musik ... Medrivende rytmer er der i det hele taget mange af i denne indspilning, som ... viser det sønderjyske landsdelsorkester i swingende topform".


Jyllands-posten

d. 30. mar. 2011

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John Christiansen

d. 30. mar. 2011

"Gershwin på fuld kraft af Riccardo Chailly og Gewandhausorchester og moderne jazzificering af fingergeniet Stefano Bollani i klaverkoncerten i F. De nyder det i jazzband-versionen af Rhapsody in Blue og i den symfoniske suite Catfish Row fra Porgy og Bess".


Jyllands-posten

d. 12. feb. 2010

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John Christiansen

d. 12. feb. 2010


BBC music magazine

2008 Proms

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Pail Riley

2008 Proms

"Bertrand de Billy's orchestra is having a ball, aided by an SACD recording which can't believe its luck with the exuberant scoring ... Add Pascal Rogé to the mix and the scene is set for a tantalising sequel to their previous excursion into the overlapping worlds of Ravel and Gershwin".


Fono Forum

2012 Oktober

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Ole Pflüger

2012 Oktober

"Die Zusammenarbeit funktioniert hervorragend ... Gershwin war ein Meister der Tonmalerei, und der Chefdirigent Andrew Litton ist es auch".


BBC music magazine

2012 October

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Anthony Burton

2012 October

"To my mind, these performances don't quite eclipse those by Michael Boriskin and the Eos Orchestra ... But this is still a highly recommendable disc, featuring state-of-the art recorded sound, and the option to listen in surround".


Diapason

2012 octobre

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Rémy Louis

2012 octobre

"Vivacité rytmique, précision des accents, éclat - sa [Andrew Litton] direction alterne des touches légères et des phrasés plus allongés ... Toujours très sûr dans ses intentions et ses effets, libère l'agilité et la fantaisie rythmiques de Freddy Kempf".


Diapason

2011 juillet-août

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Laurent Marcinik

2011 juillet-août


BBC music magazine

2011 August

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Paul Riley (musikanmelder)

2011 August

"The inclusion of percussion lends a streetwise veracity two pianos alone couldn't have mustered ... Rhapsody in Blue inevitably enshrines the same pianistic precision and electricity, but there's also smething a touch self-conscious".


BBC music magazine

2012 October

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Roger Nichols (musikanmelder)

2012 October

"Not everything here is perfect ... The above reservations pale into Beckmesserisch scratchings beside the delights of the disc and especially of Grosvenor's pianism. I can only concur with other critics who hear in his tone and phrasing echoes of a golden age ... A champagne disc - fizz and finesse".


BBC music magazine

2018 April

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Geoff Brown (musikanmelder)

2018 April

"Gerstein came to America as a teenager to study jazz piano at Boston's Berklee College of Music, and his affinity with thiw lively repertoire is apparent as soon as he hits the keys ... Each of his notes springs up with a bounce; rhythms are alway hot and crisp. David Robertson's St Louis forces are equally electifying in these live recordings ... King Kong, seen astride the Empire State Building on the CD's cover, looks like he's having a wonderful time".


Fono Forum

2024 April

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Christoph Vratz

2024 April


BBC music magazine

2024 April

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Terry Blain

2024 April

"Gershwin completists will be especially attracted by the inclusion of four 'rediscovered' songs, played here in piano versions ... As pianists the pair gel seamlessly together, with no sense that Thibaudet's classical background is in any way colliding with Feinstein's musical-theatre orientation ... Feinstein, an acknowledged doyen of the Great American Songbook, is a sophisticated vocalist too, as his affectingly nuanced account of 'Someone to watch over me' movingly demonstrates ... Thibaudet's delicate, affectionate accompaniments are ideally empathetic, and typical of the album as a whole".


DownBeat

2020 April

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Michael J. West

2020 April

"The title of Playing Gershwin is a misnomer ... The album's back half is given over to five short Rantala originals. By and large, though, these might as well have been classical pieces; that's the flavor with which he chooses to express them, adding the occasional faint tang of jazz. None of this is to say that Playing Gershwin is musically disappointing - unless, of course, listeners are expecting a jazz musician who drops George Gershwin's name to actually play jazz".


The gramophone

2012 October

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Peter Dickinson

2012 October

"Freddy Kempf is totally efficient and well balanced in this recording, and in the finale his repeated-note panache is breathtaking, threatening to come unstuck - but it never does ... The chief attraction of this CD is getting all these pieces together in convincing performances".


International record review

2012 October

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Mark Tanner

2012 October

"Grosvenor brings to his performance a high level of optimism and vitality - the playing is vigorous but sensitive too, and always there is a sense of quiet command. The orchestra is on top form in the Rhapsody ... in the Ravel Concerto Grosvenor is also consistently entertaining".


The gramophone

2012 November

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Bryce Morrison

2012 November

"Vurdering: Gramophone choice" - "After 20-year-old Benjamin Grosvenor's astonishing Decca solo album comes his first concerto disc, giving us one of the most dazzling records to have come my way for many years ... He has technique to burn and his pungency and force are things to marvel at ... A talent in a thousand".


The gramophone

2018 March

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Patrick Rucker

2018 March

"Editor's choice: What [Gerstein] serves up here is living, breathing Gershwin that doesn't shy from improvisation and yet retains all the crystal clarity and architectural cohesion of his interpretations of Liszt and Brahms. The result is sizzlin', sassy and smooth, and Robertson and his St Louis musicians are there every spontaneous step of the way ... Gerstein's music-making is direct from the heart, unsentimental but rich in sentiment ... And if something in the Mozartian grace and elegance of the Concerto's finale doesn't touch your heart, you may want to consult a cardiologist".


The gramophone

2020 July

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Jed Distler

2020 July

"At times Licad's full-power bravura [in Rhapsody in Blue] seems more appropriate to the Brahms B flat Concerto, as in the opening cadenza, for example ... Gerard Salonga's spirited tempos for the Concerto in F's outer movements are right on the money, and even the arguably extravagant rubato in Licad's opening solo conveys compelling character ... Licad and Salonga achieve a stronger meeting of minds in a well-integrated and expertly dovetailed performance of the Second Rhapsody".


The gramophone

2008 October

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Jeremy Nicholas

2008 October

"Vurdering: Editor's choice" - "It's rare enough to have all four Gershwin works for piano anf orchestra on a single disc but rarer still for each one to come near or top of the class ... Strongly recommended".


The gramophone

2024 May

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Adrian Edwards (musikanmelder)

2024 May

"This inspired fusion of Thibaudet's concert-hall virtuosity and Feinstein's improvisatory skills, already honed on the road, to celebrate the centenary of Gershwin's 'Rhapsody in Blue' turns out to be a musical marriage, if not made in heaven, then coming close to it ... for they know for certain how to put on a show! In whatever union, they sail through this Gershwin celebration with wit and style ... The lush sound from the Decca engineers spreads the icing on the cake of this glorious confection, communicated and performed with consummate skill by Jean-Yves and Michael".



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