Musik / klaver solo

Piano sonatas nos. 14, 17 & 23


Anmeldelser (16)


Classics today

d. 10. maj 2010

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Jed Distler

d. 10. maj 2010

" Look elsewhere if you want leonine, impassioned Beethoven infused with nervous energy and volatile drama, but Osborne's musical intelligence and refined virtuosity command respect".


MusicWeb international

2018 September

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Stephen Greenbank

2018 September

"The thought of another 'Moonlight' Sonata filled me with dread. I needn't have worried. With Kolesnikov playing it, that proves to be a fresh element. It's certainly the finest performance of it I've ever heard ... A fitting climax is reached with the 32 Variations on an Original Theme, WoO 80. I'm very fond of this work ... with Kolesnikov achieving passion and drama in full measure ... There's no doubt in my mind that this young pianist is going from strength to strength with each new recording".


MusicWeb international

2022 March

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David McDade

2022 March

"This is big boned Beethoven in the grand Russian style. For all the passion and drama in these works, my overriding impression was of imperious calm. Lugansky has iron fingers and an impregnable technique and there is never any sense that these pieces threaten to overwhelm him ... Lugansky's Beethoven has a lot to recommend it: it is direct and fully in tune with the revolutionary nature of the music; his calm demeanour means that everything is done with immense clarity and sense of purpose with nothing sensationalised. These qualities are immensely refreshing in this oft recorded repertoire".


Politiken

d. 22. juni 2010

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Thomas Michelsen

d. 22. juni 2010

"Desværre er det første, man oplever hos Osborne, en underligt indpakket klaverlyd. Optagelsen ødelægger noget for en udgivelse, der ellers indeholder flot, varieret og udogmatisk, ja endda humoristisk Beethovenspil ... Lydteknikerens arbejde må trække et hjerte fra i vurderingen af en ellers fremragende indspilning".


Jyllands-posten

d. 3. apr. 2007

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John Christiansen

d. 3. apr. 2007

"Det er ikke Beethoven-spil, som man diskuterer eller kan skændes om, men Freire spiller godt og rigtigt hele vejen igennem, og det er der et pænt stort publikum til".


Berlingske tidende

d. 13. mar. 2007

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Søren H. Schauser

d. 13. mar. 2007

"Han kan spille lynende hurtigt og lynende begavet, som i begyndelsen af Waldstein eller Måneskinssonatens finale. Og han kan lade de langsomme melodier svæve fuldstændig upåvirket over venstre hånds tikken. Ikke at man ligefrem hygger sig med Freire ved tangenterne ... men særpræget og lidt spændende er den 63-årige pianist stadig".


Politiken

d. 1. maj 2007

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Jan Jacoby

d. 1. maj 2007

"Renfærdighed, omsorgsfuld detaljering og et stort pianistisk overskud er centrale attraktioner i brasilianeren Freires Beethoven-fortolkninger. Hans ubesværede, næsten sirlige klarhed og delikatesse i de mest virtuose passager er en nydelse ... Alt er dog ikke idyl. Det lidt for rigelige pedalslør er ikke min smag".


BBC music magazine

2010 June

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David Breckhill

2010 June

"These accounts of the Moonlight and Pathétique are both clean and powerful ... All in all, this disc should prove pleasing both to those who admire Osborne's work and to those who find Lewis's Beethoven wearyingly finicky".


BBC music magazine

2018 October

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Rebecca Franks

2018 October

"Unexpected tempos, but the atmosphere is unmistakable. Kolesnikov finds nocturnal quietude in the Moonlight Sonata, and his lucid, thoughtful approach pays off elsewhere too".


Diapason

2018 octobre

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Bertrand Boissard

2018 octobre


Fono Forum

2022 Juni

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Gregor Willmes

2022 Juni

"Es ist ein wagemutiges Unterfangen, angesichts der Vielzahl hervorragender Aufnahmen eine weitere Einspielung mit drei von Beethovens Namen-Sonaten verzulegen. Nikolai Lugansky spielt die Sonaten sauber und gekonnt, ihm fehlt letzlich allerdings der Mut zur Individualität ... Gut ist hier leider gut genug".


Fono Forum

2014 Februar

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Ingo Harden

2014 Februar

"Trotz eines stetig wachsenden Angebots ist dies für mich eine der eindrucksvollsten Fortepiano-Produktionen seit langem".


The gramophone

2017 May

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Jed Distler

2017 May

"As Martin Roscoe crosses the halfway point towards completing his Beethoven sonata cycle for Deux-Elles, his poised and scrupulous playing continues to evoke two ghosts of Beethoven past: Walter Gieseking and Solomon. These luminaries generally favoured clear textures, astute voice-leading, balance and symmetry, discreet use of the pedal and a kind of Classical reserve that contrast with more combative, confrontational interpretations. So does Roscoe ... Listeners whose internal Beethoven sonata barometers read 'intimate' rather than 'cosmic' will respond to the stature and high standards of Roscoe's artistry".


The gramophone

2018 Awards

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Harriet Smith

2018 Awards

"Kolesnikov ... begins in much more obscure territory with four rarities, which are delightful. He conveys the jokiness of the second piece (probably intended as a scherzo for Op. 10 No. 1) without labouring the point, while the fourth contrasts a quiet playfulness, sudden outbreaks of ire and an otherworldly dreaminess ... The G major Sonata, Op. 14 No. 2, also suits Kolesnikov well ... And he gives a sparkling account of the playful and perky finale, if not quite finding the level of wit of, say, Richard Goode".


Kristeligt dagblad

d. 20. okt. 2003

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d. 20. okt. 2003


The gramophone

2022 May

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Harriet́ Smith

2022 May

"This is the second volume of NIkolai Lugansky's Beethoven to come my way and the ruggedness that coloured his accounts of the late sonatas are in evidence here, too, in these three nicknamed works. He strenuously avoids the superficially beautiful in the first movement of the "Moonlight", instead lending it a dragging quality ... His "Tempest" ... has a craggy, dramatic persona, the ire to the fore ... [In] the "Appassionata" ... there's a certain lack of subtlety in his approach ... If you find [Paul] Lewis too slow in the finale ... then Lugansky might be more to your taste, rounded off with a dazzlingly nihilistic Presto".