Czech Songs – Magdalena Kožená, Czech Philharmonic, Rattle
On paper, this album epitomizes authenticity: a leading Czech mezzo-soprano, Magdalena Kožená, performs works in her native language with a top-notch Czech orchestra. Fortunately, the performers deliver on this promise. The album opens with Martinů’s intriguing take on Japanese folk songs, followed by two skillfully orchestrated cycles by Dvořák, courtesy of Jiří Teml and Jiří Gemrot. The most rarely performed work here is Hans Krása’s (1899-1944) Four Orchestral Songs. Kožená makes a compelling case for exploring this hidden gem. The included booklet features all lyrics, and Kožená’s clear diction allows listeners to follow the text with a translation. Sir Simon Rattle leads the orchestra with a firm hand, ensuring they provide a driving force without ever overshadowing the vocalist.
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Mozart – Piano Concertos No. 25 & 27 – Levin, AAM, Egger
Two decades after its launch, Robert Levin and the Academy of Ancient Music’s Mozart Piano Concertos cycle reaches its conclusion. This final volume features two of the composer’s most beloved works: the energetic No. 25 (K. 503) and the introspective No. 27 (K. 595). Longtime followers of the series will recognize Levin’s signature approach: exploiting the full potential of the fortepiano, while the AAM seamlessly blends full orchestral sections with intimate chamber moments for the soloist. Richard Egger takes the conductor’s mantle, succeeding the late Christopher Hogwood, who passed away before the cycle’s completion. Echoing Mozart’s practices, Levin joins the orchestra “col basso” and improvises repeated passages and cadenzas. The recording faithfully captures the sound balance of period instruments and the intimate atmosphere of the performance spaces in which these works were first heard.
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“Young & Foolish” – Mozart & C.P.E. Bach – Café Zimmerman
Carl Philipp Emanuel Bach, a composer of remarkable originality and creativity in the 18th century, remains overshadowed by some of his contemporaries despite enjoying great success in his own time. This new album by Café Zimmermann, led by Pablo Valetti, features a selection of his works alongside Mozart’s. The recording showcases a symphony (H. 663) and an intriguing double concerto for harpsichord & fortepiano (H. 479), alongside Mozart’s Divertimento K. 138 and Piano Concerto No. 17 in K. 453. Alexander Melnikov takes on the fortepiano parts, while Céline Frisch performs on the harpsichord. The performances are captivating, and the recording boasts a clear and intimate soundscape.
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“Avec Elles” – Mathilde Calderini, Aurèle Marthan
This captivating flute and piano recital features a blend of original works and transcriptions. Alongside well-known composers like Debussy and Poulenc, the album delves into the repertoire of lesser-played composers like Cécile Chaminade and Mel Bonis. It even includes a stunning new work, “Miroir pour flûte et piano” by contemporary composer Lise Borel, which beautifully blends the flute’s colors across all registers with those of the piano. Flutist Mathilde Calderini delivers a rich and warm sound across all registers and dynamics, with meticulously planned breathing that enhances the expressiveness of each phrase. Pianist Aurèle Marthan is an equal partner, masterfully creating the atmosphere for each piece. Complemented by a resonant yet clear recording balance, this is undoubtedly one of the most impressive flute recordings in recent times.
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Mikhail Pletnev – Piano recital – Live in Berlin 2023
Mikhail Pletnev’s recent Rachmaninoff project with his newly formed orchestra wasn’t entirely successful, as Azusa Ueno pointed out in her review, but here is a good compensation in a form of a live recital given at Berlin’s Philharmonie in April 2023. Pletnev’s free style, characterized by frequent rubato and ritardandi, is reminiscent of pianists born in the 19th century or soon thereafter. It’s a rare experience to hear such freedom and individuality from a pianist of Pletnev’s stature today. The first half of the program features Brahms’ late Intermezzi, Op. 117, alongside a “shared” work by Alexey Shor, reworked for the piano by Pletnev himself. The second half includes four long works by Chopin, which under Pletnev’d fingers sound quite different but never dull. The recording boasts a realistic balance, capturing the applause and subtle audience noise, offering a truly immersive concert experience.
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