Symphony no. 3
Gustav Mahler
Emneord
Anmeldelser (13)
Presto classical
d. 1. mar. 2021
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Katherine Cooper
d. 1. mar. 2021
"Editor's choice - February 2021: Tamestit and Tiberghien find a wealth of light and space in the two sonatas, bringing a folksy, homespun charm to the third movement of No. 1 and plenty of impish energy to its finale; the two song-transcriptions, too, are beautifully done, with some magical pianissimo playing from both artists in the evergreen lullaby. And it's wonderful to hear the two Op. 91 songs with bass-baritone for a change, Goerne's dark, nutty timbre like luxury coffee to Tamestit's cream".
DR musik
2009 uge 5
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Jens Cornelius
2009 uge 5
"Vurdering: Ugens cd" - "30-årige Maxim Rysanov er den klassiske verdens nye bratsch-stjerne ... Maxim Rysanov er en fantastisk generøs musiker. En af de få, hvis virtuositet, præcision og bundløse mængder af udtryk ikke kan adskilles".
Information
d. 23. mar. 2021
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Valdemar Lønsted
d. 23. mar. 2021
"Et superbt Brahms-album med to franskmænd og en tysker på sidelinjen. Bratschen bliver ofte overset som soloinstrument, selv om repertoiret er righoldigt, og en af instrumentets mest fremragende udøvere Antoine Tamestit fører her bevis for uretfærdigheden i denne negligering. En usædvanlig bevisførelse, for med pianisten Cédric Thibergien afdækker Tamestit skjulte klangfarver og ekspressive muligheder i Brahms' to sene sonater ... Og Tamestits Stradivariusbratsch harmonerer perfekt med disse beherskede farver, han får rum og inspiration til at udfolde sin fyldige klangbeherskelse i en helt betagende skønhed".
Fono Forum
2015 Dezember
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Christoph Vratz
2015 Dezember
"Das klingt ungezwungen, teilweise herrlich verwegen".
Diapason
2015 novembre
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Nicolas Derny
2015 novembre
BBC music magazine
2011 November
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Erik Levi
2011 November
"In many respects their view of the music perfectly accords with the autumnal nature of Brahms's late style. Yet, at the same time there are moments in the score, for example in the minor variation in the Finale and the closing bars, where both players could afford to be mroe exuberant".
BBC music magazine
2021 May
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Malcolm Hayes
2021 May
"Tamestit's viola is a wonderful instrument for sure, offering a keening intensity quite different from the over-inflated tonal heft preferred by some of his present-day colleagues ... The playing of these two fine artists offers high-class musical riches at every point, Tamestit finding a ceaseless range of tone-colours that always sounds natural rather than contrived. Having a Brahms song played after each sonata works nicely in terms of simpler lyrical contrast; and both aspects then come together in the beautiful pair of Op. 91 ... sung by Matthias Goerne with his trademark unaffexted warmth".
Fono Forum
2021 Mai
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Norbert Hornig
2021 Mai
"Treffend erfassen die Interpreten die besondere Aura dieser Musik, den kantablen, schwelgerischen Ton und den mitschwingenden melankolischen Charakter dieses späten Brahms, der erfüllt ist von Nachdenklichkeit und lebensreifem Ernst. In den Liedbearbeitungen wird die der menschlichen Stimme besonders nah kommende Ausdruckscharakteristik der Viola absolut überzeugend. Deutlich wird diese Kongruenz auch in den Gesängen op. 91 mit dem Bariton Matthias Goerne. Nicht zuletzt spielt der Klang der Instrumente in dieser Aufnahme eine ausdruckstragende Rolle, begrundet durch die Wahl und Qualität der Instrumente".
BBC music magazine
2009 January
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Erik Levi
2009 January
"Rysanov and pianist Katya Apekisheva deliver an impassioned reading of the first movements of the F minor Sonata ... The two trio performances are also ectremely enjoyable".
The gramophone
2011 November
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Duncan Druce
2011 November
"Roberts and Vogt together demonstrate a coomand of idiomatic rubato ... And in Rachel Robert's hands the viola quite loses its Cinderella image, nowhere more so than in th Märchenbilder, impressively agile in the third piece, wonderfully warm and rich in the closing lullaby".
The gramophone
2021 May
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Andrew Farach-Colton
2021 May
"The duo take their time, and it pays off in a profusion of expressive detail ... If you want to bask in this sonata's autumnal glow, these players' expressively meticulous performance will do very nicely indeed ... Tamestit takes the vocal part in 'Nachtigall' and the beloved 'Wiegenlied' - both lovely instrumental adaptations - but it's Matthias Goerne's singing of Op 91 that leaves a far deeper impression ... With ardour and vulnerability, Goerne demonstrates that a paternal plea can be just as heart-rending ... His performance hit me with unexspected force".
The gramophone
2009 January
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John Warrack
2009 January
"Vurdering: Editor's choice" - "In the First Sonata, in which Rysanov is accompanied by the excellent Katya Apekisheva, the music is more freely phased, with a humorous sense of the latent waltz in the Allegretto and plenty of vigour on the finale".
Kristeligt dagblad
d. 4. okt. 1999
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d. 4. okt. 1999