CD and Other Review

Review: Domenico Zipoli: Complete Suites & Partitas (Giovanni Nesi)

Generally, when you think of baroque music you think Europe. Handel’s London, perhaps, JS Bach’s Leipzig, or Vivaldi’s Venice. For the composer Domenico Zipoli, his training as a missionary meant that he wound up further afield. Instead of hobnobbing at the courts of Europe, he lived and composed in Argentina at a time when getting to South America meant a difficult and lengthy journey. The music recorded on this disc was published as Sonate d’Intavolatura per Organo e Cimbalo, before Zipoli’s South American adventures began. Though still far from well known, the suites and partitas in the harpsichord half of the set are masterful enough to have impressed fellow composers. Writing centuries later, Vincent d’Indy referred to these works as proving Zipoli “one of the greatest Italian masters in musicality and elegance in composing”, and compared him favourably to Frescobaldi, Pachelbel and Bach. For the most part following the standard baroque dance suite form, Zipoli’s music is brought to life in this recording. Giovanni Nesi’s choice to record these works on the piano serves the music well, bringing a wonderful crispness and clarity to these works. Usually I’d quibble over historical accuracies, but that becomes irrelevant with a performance this…

April 19, 2016
CD and Other Review

Review: Mozart: Piano Works Volumes 8 & 9 (Kristian Bezuidenhout)

Fortepianist Kristian Bezuidenhout’s traversal of Mozart’s complete keyboard music is fast becoming one of the most significant recording projects of the 21st century, combining as it does the best contemporary thinking on historical performance practice with an individual and refined musical sensibility. No stranger to Australian audiences, Bezuidenhout is equally at home in an orchestral or solo instrumental context; he is also as much at home with the improvisatory aspects of historical performance as other fortepianists such as Robert Levin and the great Malcolm Bilson. These factors combine to enliven Bezuidenhout’s interpretations in both a colouristic and decorative sense. Even non-specialists will be left utterly convinced of his total fluency in the musical language of the 18th century. And how lovely to open with the deceptively simple C Major Sonata, K545, so familiar to generations of piano students and yet so elegant and ingenious in its writing.  Here, Bezuidenhout’s delicate phrasing, subtle balancing of voices and charming embellishments prepare the listener for what is to come, not only in other familiar works such as the piano sonatas K280, K279 and K576, but some preludes, a neo-baroque dance suite, a couple of allegros completed by Levin and three dazzling sets of…

April 19, 2016
CD and Other Review

Review: Grigory Sokolov plays Schubert & Beethoven

Sokolov is a cult favourite, not only because his conception of any music he plays is unflinchingly personal but also because of his tremendous concentration. Every note is coloured and weighted; each phrase meticulously judged. He refuses to record in the studio, but Deutsche Grammophon has secured a contract to release his live concert performances. This is the second release, taken from recitals in Warsaw and Salzburg in 2013; the previous disc won Limelight’s 2015 Recording of the Year.    Sokolov’s typically uncompromising programme includes Beethoven’s Sonata No 29, Op. 106, the Hammerklavier. I was surprised how delicately he plays the first two movements: his dry, detached staccatos are lightly etched, as if to remind us that we are still in the Classical period. The Adagio sostenuto is one of the great inward meditations of late Beethoven, and here it feels as if time had stopped. Sokolov ruminates for 21’28”. By comparison, Paul Lewis plays it in 18’31”, and Gulda in 15’44”. This communing over every single note requires deep concentration from the listener as well as the performer – easier in a concert hall than at home. While Sokolov’s single-mindedness never falters, his is not your everyday Hammerklavier.  Late…

April 15, 2016