Experimental opera on ancient principles from Oz composer.

Hewitt dazzles again with second volume of Scarlatti sonatas.

Piano concertos rescued from obscurity shine in Shelley’s hands.

Osborne returns to an old love to produce another knockout recording.

Debussy a decade on: Osborne returns to an old love to produce another knockout recording.

Magnificent Martinsson song cycle premieres in Australia before high-Romantic smasher – and everybody wins.

Lithe and robust interpretations of Ives by two Finnish youngsters.

Debut recording from young Bulgarian is quite a smasher.

Fascinating glimpse of a forgotten young composer.

Stalwart environmental crusader gets a musical tribute.

Alexandre Kantorow’s first outing for BIS – an all-Liszt programme including both piano concertos – had critics racing to their lexicons for superlatives. That was in 2015 at the age of 18; In 2017, as he turns 20, Kantorow puts his stamp on more fiendish repertoire with blistering interpretations of two monumental works à la russe. Rachmaninov’s first Piano Sonata dates from 1908 and was initially inspired by Goethe’s Faust, its classically-structured movements representing three distinct personalities – Faust, Gretchen, and Mephistopheles. The last, described as a ‘hellish whirlpool’ in a ‘diabolical sonata,’ finds Kantorow in his element: a smashing, torrent of sound delivered with formidable technique and precision. Its companion piece here is a 1928 transcription of excerpts from Stravinsky’s Firebird by Guido Agosti. The transcription is extraordinary, its delivery by Kantorow breathtaking, terrifying, brimming with suspense. Between these edifices are two glorious epistles of tenderness, Meditation and Passé lointain, from Tchaikovsky’s Morceaux (Op. 72), demonstrating that Kantorow is a master of deep and delicate lyricism. The SACD is of the usual impeccable BIS standard, the only niggle an over-brightness of tone at times, but that is purely taste. Finally, Balakirev’s Islamey brings this programme to an… Continue reading Get…

Russian conductor Tugan Sokhiev’s recording of two Prokofiev symphonies and the Lieutenant Kijé Suite dates from his tenure as Music Director at the Deutsches Symphonie-Orchester Berlin. Prokofiev composed the score for Lieutenant Kijé, an early Soviet ‘sound’ film in 1933, the satirical premise of which revolves around a non-existent lieutenant who nonetheless manages to achieve impressive life milestones. Lively, musically illustrative (military marches, sleigh rides) and totally accessible, it’s a perfect curtain-raiser for Prokofiev’s Classical Symphony, so called for its use of reconfigured Haydn-like forms. These indications also permeate Prokofiev’s Seventh and last symphony, presented here with its more usual reworked ending, which Prokofiev was persuaded by his friend Samuil Samosud (and substantial prize money) to amend from the sombre original (Gergiev’s 2004 recording with the LSO is an instructive comparison). The sophistication of Prokofiev’s orchestrations and Sokhiev’s deft touch are highlighted by this excellent recording, which is crisp and sharp, with a very full bottom end and full spectrum of percussive richness. The dynamic variation is sprightly and delicate but still loaded with drama, fairly leaping out of the speakers as a result. Sokhiev’s earlier Sony recording of Prokofiev’s Fifth Symphony was very well-received by critics;… Continue reading Get…