The irrepressible violinist pays tribute to musicians who inspired him and explores Chekhov’s Three Sisters in his latest album.

The Birmingham Conservatoire student is hoping to break the record for fastest half marathon dressed as a musical instrument.

Showstopper after showstopper from the man who lives and breathes Liszt.

Slava Grigoryan's first solo album in 15 years is well worth the wait.

Critically acclaimed Scottish pianist Steven Osborne’s latest recording finds him tackling one of the great monsters of the classical piano repertoire – Beethoven’s Op. 106 Piano Sonata, the Hammerklavier. Brutal, experimental and relentlessly modern, the Hammerklavier hurtled relentlessly forth into new harmonic territory via a revolutionary four-movement structure. Osborne takes the first two of these at a terrifying clip before sinking into the devastating emotionality of the Adagio Sostenuto, throughout which his extraordinary technical clarity is maintained: the upper register notes drip like acid rain, burning where they land. It’s often said that Osborne’s playing reveals hitherto unheard nuances, and this is certainly true of the final, smashing fugal movement, which is compelling and repays repeated listening. The Hammerklavier is accompanied by the two sonatas preceding it chronologically – Op. 90 and 101. As renowned Beethoven scholar Professor Barry Cooper points out in his superb liner notes, these “three sonatas represent an enormous crescendo in terms of length and difficulty”. Osborne’s tone is bright and crisp, but never harsh or brittle, and the recording is in accord with Hyperion’s usual high standards of fidelity. Osborne has released over 20 albums since signing with Hyperion in 1998; many have met with…

A fine souvenir for those who attended, and an enjoyable recital for all music lovers.

Brazilian pianist Fabio Martino studied and now lives in Germany. His second solo recital disc concentrates on the big guns of the Romantic repertoire: Beethoven’s Piano Sonata No 23 (Appassionata); Liszt’s three Liebesträume, and Schumann’s Fantasy in C, Op. 17. Martino’s Appassionata is clearly conceived as a whole. He saves the surging drama for the final movement, notably the closing Presto, and deliberately understates the work’s opening movement, which proceeds prettily with no overt suggestions of significance. The work unfolds naturally: an approach I like in Beethoven. The Liszt pieces are sympathetically done, with poise and a feeling for rubato that gives them an improvisational feel. Martino seems especially in touch with the sound world of Schumann. In the rhapsodic Fantasie of 1835 he sweeps through the Sturm und Drang with passion, and is suitably restrained in the final movement. Here’s a young artist whose superlative technique is placed completely at the service of the composer. Who is Zequinha de Abreu? He wrote the song Tico Tico, made famous by an older Brazilian bombshell, Carmen Miranda. Marc-André Hamelin’s challenging arrangement provides the quirky (and, to be honest, not entirely appropriate) encore to this recital. Martino tosses it off… Continue reading…

A dynamic French pianist is out to demonstrate just how expressive and individual these short etudes can be.

The young Bell learns about perseverance and second chances in The Dance of the Violin.

Sony Australia has chosen the Sydney radio host to feature on the inaugural album for its new Masterworks label.

Virtuosity and poetry from the young Russian in a truly memorable recital.

Google’s new musical experiment with artificial intelligence means you’ll never have to play alone again. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in