Musik / klaverkoncerter

Sardinia : a night of Mozart & Gershwin


Anmeldelser (35)


AllMusic

2007

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James Leonard

2007

"For some, the cool and more distant sound of the 1993 Sony recording will prove less attractive than the close and more colorful sound of the 2006 EMI, while it may be the reverse for others. Perhaps the ardent Colin Davis leading the professional London Symphony Orchestra will tip the scales in favor of the later recording or possibly the magisterial Carlo Maria Giulini with the magnificent Wiener Philharmoniker will weigh them toward the earlier recording".


Audiophile audition

d. 25. juni 2010

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Gary Lemco

d. 25. juni 2010

"Quite a marvelous beginning for a complete Mozart cycle, as intelligently enthusiastic as it is lovely".


Audiophile audition

d. 1. sep. 2010

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Gary Lemco

d. 1. sep. 2010

"De Larrocha's penchant for the clear plastic line made her a natural Mozart exponent, and these four virtuoso concertos accommodate her fluency and rhythmic vitality".


All about jazz

d. 2. sep. 2023

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Mike Jurkovic

d. 2. sep. 2023

"This beautiful, stand-alone concert brings Corea's depth as a performer and interpreter into sharp, shining focus ... Corea exhibits a deep understanding and reverence for music both as old and new as the moment itself. Fanciful yet faithful, pianist and orchestra relish toying with the many structural inventions within Mozart's concerto ... Add a wistful "Someone To Watch Over Me" and Sardinia stands as another triumph in a life full of them".


Jazzwise

2023

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Stuart Nicholson (f. 1948)

2023

"The Orchestra da Camera Della Sardegna perform Mozart as written, while Corea, who in another life could equally have been a major concert pianist, personalises his performance in a fascinating way, ... embellishing his solo lines and improvising the cadenzas, all touches Mozart himself is believed to have done ... Otherwise Corea sticks to the script but ... in the piano cadenza in Gershwin's 'Rhapsody in Blue', comprising the second part of this album (it is prefaced by Corea's 'Gershwin Intro' and 'Someone to Watch Over Me'), he really goes to town, as well as taking improvisational liberties during his solo passages - well, Gershwin was inspired by jazz when he wrote it".


All about jazz

d. 2. sep. 2023

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Mike Jurkovic

d. 2. sep. 2023

"This beautiful, stand-alone concert brings Corea's depth as a performer and interpreter into sharp, shining focus ... Corea exhibits a deep understanding and reverence for music both as old and new as the moment itself. Fanciful yet faithful, pianist and orchestra relish toying with the many structural inventions within Mozart's concerto ... Add a wistful "Someone To Watch Over Me" and Sardinia stands as another triumph in a life full of them".


Jazzwise

2023

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Stuart Nicholson (f. 1948)

2023

"The Orchestra da Camera Della Sardegna perform Mozart as written, while Corea, who in another life could equally have been a major concert pianist, personalises his performance in a fascinating way, ... embellishing his solo lines and improvising the cadenzas, all touches Mozart himself is believed to have done ... Otherwise Corea sticks to the script but ... in the piano cadenza in Gershwin's 'Rhapsody in Blue', comprising the second part of this album (it is prefaced by Corea's 'Gershwin Intro' and 'Someone to Watch Over Me'), he really goes to town, as well as taking improvisational liberties during his solo passages - well, Gershwin was inspired by jazz when he wrote it".


DR musik

2010 uge 36

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Malene Wichmann

2010 uge 36

"Vurdering: Ugens cd" - "Vassily Primakov er en mand med kraft i anslaget, teknisk overskud og både følelser og energi i fingrene. Især klaverkoncert nr. 27, B-dur, K595, dén der er kendt for at have "Kom maj du søde, milde"-melodien indbygget, sprudler energisk derudad ... Den første udgivelse lover godt for fremtiden".


Politiken

d. 25. sep. 2007

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Thomas Michelsen

d. 25. sep. 2007

"Pianisten Jevgenij Kissin er mand for at levere det superbe i detaljen og det storladne på det overordnede plan. Hans perfektion i Mozart er parret med et orkester, der i Londons akustiske work in progress, det nu 25-årige Barbican Center, lyder udpræget dynamisk ... En varm, bred luksusfortolkning, hvor klaverbokseren Kissin gudskelov er nænsom ved Mozart ... Særlig i Schumann kommer Kissins immervæk hørbare flinteanslag til sin ret med smæk for skillingen, der aldeles slår benene væk under lytteren".


Kristeligt dagblad

d. 26. nov. 2014

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Peter Dürrfeld

d. 26. nov. 2014

"På en ny dobbelt-cd kan man høre den 32-årige kinesiske pianist Lang Lang - der har vundet ry som en sand klaverløve - gå til angreb på Mozart. Repertoiret fejler bestemt ikke noget ... Der er ikke overraskende meget at glæde sig over i orkesterspillet ... Indimellem frydefulde øjeblikke, men både en Daniel Barenboim og en Maria João Pires spiller denne musik mere retfærdigt".


Jyllands-posten

d. 19. dec. 2014

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Jens Povlsen

d. 19. dec. 2014

"Klaverets Lucky Luke er stadig hurtigere end sin egen skygge, men han er heldigvis også begyndt at vise følelser. Med Harnoncourt leverer Lang Lang Mozart-koncerterne nr. 17 og 24 med indlevelse og personlighed. På dobbeltalbummets anden del blegner klaverhelten dog".


Politiken

d. 16. dec. 2014

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Thomas Michelsen

d. 16. dec. 2014

"Det har ikke altid været en fornøjelse at høre denne showmand tage livtag med især de finere nuancer i wienerklassisk musik, men ... med Wienerfilharmonikerne som medspillere sker der uventede ting. Lang Lang lytter og udvider sit musikalske format. Koncerten i c-mol nr. 24 - den ene af Mozarts bare to klaverkoncerter i en moltoneart - afslører følsom indlevelse i solokadencerne og en talende, levende frasering fra klaversolisten".


Politiken

d. 3. nov. 2009

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Thomas Michelsen

d. 3. nov. 2009

"Under ledelse af den eksklusive japanskengelske pianist Mitsuko Uchida får musikken ånd og liv ... Her får man Mozart med højt til loftet og plads til patos ... Trods en svag dis i lydbilledet kommer Mitsuko Uchida bedre ud gennem højttalerne. Hos hende får Mozart sjælen med på rejsen fra 1700-tallet til i dag".


Jyllands-posten

d. 4. nov. 2009

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John Christiansen

d. 4. nov. 2009

"Mange har skrevet store ord om Mitsuko Uchidas Mozart-spil. Jeg kan ikke bidrage. Hendes nyeste cd med klaverkoncerterne 23 i c-mol og 24 i A-dur er for mig for poleret uden dobbeltbundetheden af smil og smerte".


Fono Forum

2007 Oktober

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Attila Csampai

2007 Oktober

"Ein Musterbeispiel für stilistische Engstirnigkeit auf höchstem Niveau ... Kissin hält an der alten russischen Lesart fest, dass Mozart in seinem düsteren c-Moll-Konzert ein prophetisches Werk der Romantik geschaffen habe ... Bei Schumanns a-Moll-Konzert hingegen erweist sich Kissins energische Sensibilität als Volltreffer ... Ein bemerkenswerter Neuanfang eines unzeitgemässen Starpianisten".


BBC music magazine

2007 September

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Erik Levi

2007 September

"Evegeny Kissin provides a very individual yet compelling view of Mozart's C minor Concerto. It may not appeal to those who prefer a more Clasically orientated view of the music ... I would not want to be without this performances by Kissin".


Fono Forum

2014 November

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Julia Spinola

2014 November

"In ihrer Vorliebe für eine gewisse expressive Drastik und Überdeutlichkeit scheinen sich Harnoncourt und Lang Lang durchaus glücklich getroffen zu haben".


Klassisk

2010, nr. 18

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Christine Christiansen

2010, nr. 18

"På seriens første cd ... viser Vassily Primakov sig som en moden musiker med et gennemarbejdet bud på de berømte Mozart-koncerter. Og så har han et imponerende teknisk overskud ... Scott Yoo styrer orkestret med en stram og præcis rytmisk sans ... I alt kommer Mozarts 27 klaverkoncerter til at fylde 10 cd'er, så Odense Symfoniorkester har her, sammen med både solist og dirigent, en enestående mulighed for at markere sig".


BBC music magazine

2010 November

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Jeremy Siepmann

2010 November

"Outstanding release. The piano playing is of exceptional quality: refined, multi-coloured, elegant of phrase and immaculately balanced, both in itself and in relation to the effortlessly stylish orchestra".


BBC music magazine

2009 Christmas

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Michael Tanner (musikanmelder)

2009 Christmas

"This will prove to be a controversial issue ... For many people such extremes of characterisation will seem unidiomatic, but I'd beg them to keep an open mind ... Uchida manages to avoid the almost unavoidable trap of too much affection, and in the slow movement rises to heights of eloquent grief that are demanded, but seldom risked".


Diapason

2012 juillet-août

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Etienne Moreau

2012 juillet-août


Fono Forum

2012 Mai

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Simon Tönies

2012 Mai

"Einen Mozart, dessen Durchhörbarkeit tatsächlich besser ist [als Schoonderwoerd] ... dessen Vergnügtheit und Frische ihresgleichen suchen. Seine 32stel-Ketten, seine Auszierungen und Triller perlen so sanft und selbstverständlich wie die eines Murray Perahia ... Eine Aufnahme, die den Hörer anspringt und trotz Konservativität den Vergleich mit Schoonderwoerd souverän gewinnt".


Diapason

2023 mai

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Bertrand Boissard

2023 mai


BBC music magazine

2023 April

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Malcolm Hayes

2023 April

"Bavouzet uses a modern concert grand, with the orchestra avoiding excessive vibrato but otherwise playing in today's mellow-toned instrumental style. The superlative collective result shows that period performance issues need not be an overriding concern, if the feeling for the idiom itself is so engagingly right ... Bavouzet's scintillating delivery ... which comes across as a display of musical and technical mastery that amazes even by Mozart standards".


BBC music magazine

2011 Christmas

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Misha Donat

2011 Christmas

"Brautigam is his usual reliable self, providing playing of both brillance and insight ... For all the accomplishments of the playing here, it's hard not to feel that the music yields up more of its secrets in such stylish modern-instrument performances as those of Alfred Brendel with the Scottish Chamber Orchestra".


The gramophone

2008 August

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Nalen Anthoni

2008 August

"These interpretations are profoundly felt, excellently played and, apart from muffled timpani, truthfully reproduced".


BBC music magazine

2008 Proms

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David Breckbill

2008 Proms

"In K491, Imogen Cooper and the Northern Sinfonia do ample justice to the gravitas, intensity, drama, and poignancy of this great work ... In K502, however, what is no doubt a similar approach strikes me as fussy, affected, precious, and overly detailed".


International record review

2015 February

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Nicholas Salwey

2015 February

"Whatever the reservations about the second disc, this is undoubtedly worth the investment for the two concerto performances. Lang Lang and Harnoncourt prove to be very stimulating partners ... I hope we hear more from them".


The gramophone

2014 October

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David Threasher

2014 October

"Of course the technique needs no comment; but the feeling is that Lang Lang has the measure of the music without approaching the impish playfulness of Brendel, the inwardness of Pires ... He comes into his own, however, in the cadenzas. Here his touch is breathtakingly beautiful and, let off the leash, he is able to spin the same spells that make certain parts of his live performances so mesmerising".


The gramophone

2009 December

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Bryce Morrison

2009 December

"Vurdering: Editor's choice" - "Here she revisits her beloved Mozart in readings of the greatest poetic poise, empathy and refinement ... The Cleveland Orchestra are entirely at one with their inspired soloist ... One of the truly great artists of our time".


International record review

2009 November

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Stephen Pruslin

2009 November

"These live performances are conducted by Mitsuko Uchida from the piano. Happily, they avoid the pitfall of divided attention that often besets concertos conducted by the soloist, whose attention to pianistic detail in the solo parts is therefore audibly less than perfect. Here, Uchida and the Cleveland Orchestra sound as one ... In general, this recording stands quite high among relatively recent versions".


The gramophone

2023 March

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Patrick Rucker

2023 March

"Some of Mozart's most beautiful and characteristic writing for winds occurs in the context of his piano concertos . The Manchester Camerata, due to the ratio of its wind players to strings, not to mention the truly remarkable virtuosity of the wind players themselves, produce a delectable feast for the ear encountered all too rarely in contemporary Mozart ensembles. That Bavouzet is seated in the midst of this distinctive sensuality and textural richness ... beautifully contoured cantabile sections and brilliant passagework seem delivered effortlessly ... Certainly these are performances of warmth and beauty that continue to deliver fresh insights even after repeated hearings".


The gramophone

2012 January

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Richard Wigmore

2012 January

"Playing on a fine, un-jangly modern copy of an Anton Walter instrument [fortepiano], with its silvery, singing treble and clear, percussive bass, Ronald Brautigam gives bold, invigorating performances of these contrasting concertos from 1786 ... This is exhilarating, often thought-provoking Mozart-playing".


International record review

2011 December

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John Warrack

2011 December

"In general, Brautigam keeps everything simple, phrasing elegantly but undemonstratively, and using decoration ... with tact and even a touch of humour ... The Kölner Akademie includes some excellent woodwind players, among them a bassoon who rises brilliantly to the occasion of some of Mozart's stiffer demands".