Shostakovich: The Cello Concertos – Yo-Yo Ma, Boston Symphony Orchestra, Andris Nelsons
This album is part of the Boston Symphony Orchestra’s and Andris Nelsons’ Shostakovich cycle of the complete Symphonies and concertos, featuring Yo-Yo Ma in both cello concertos. Ma’s reading of the First Concerto feels more restrained and less sharp-edged compared to his early 1980s recording with Ormandy and the Philadelphia Orchestra. The Second Concerto, recorded here for the first time by Ma, benefits from the BSO’s vivid brass and percussion, with the Dolby Atmos sound capturing fine details in Shostakovich’s imaginative orchestration.
Bach – The Well-Tempered Clavier, book II – Aaron Pilsan
Following his 2021 recording of Book I, Aaron Pilsan presents Bach’s complete second book of the Well-Tempered Clavier. This set mirrors the technical command and clear voice leading of the first, perhaps with a slightly freer style. Pilsan employs modest but intelligent pedal use and shows clear sensitivity to Baroque style in ornaments, tempi, and dance character, balancing assertiveness and dreaminess with stylistic integrity throughout. The variety and nuance in Pilsan’s playing make this a set you can enjoy in a single sitting, almost like attending a well-shaped recital.
Janáček – Jenůfa – London Symphony Orchestra, Sir Simon Rattle
This is Sir Simon Rattle’s third Janáček opera release with the London Symphony Orchestra, following his acclaimed accounts of Katya Kabanova and The Cunning Little Vixen. With Jenůfa, Rattle continues to demonstrate his deep understanding of Janáček’s distinctive musical language, highlighting the sharp contrasts, rhythmic tensions, and expressive lyricism that define the score. Agneta Eichenholz delivers an intense, finely detailed portrayal of the troubled main character, bringing both vocal power and psychological nuance to the role. She is joined by a strong supporting cast, and the LSO plays with precision and color, capturing both the drama’s raw emotional force and its intimate, human moments. The recording is drawn from live performances at London’s Barbican Hall in January 2024.
Brahms – Ein deutsches Requiem – Bach Collegium Japan, Masaaki Suzuki
Masaaki Suzuki and the Bach Collegium Japan venture into Brahms for the first time, bringing the same clarity, balance, and refined textures that have distinguished their Bach, Mozart, and Beethoven recordings. This German Requiem benefits from the ensemble’s transparent approach, which emphasizes the work’s spiritual and reflective qualities rather than sheer weight or grandeur. Soprano Miku Yasukawa and baritone Jochen Kupfer emerge as particularly rewarding soloists, blending seamlessly with the chorus and orchestra while delivering sensitive, well-shaped performances. BIS’ excellent SACD sound enhances the experience, offering a detailed and spacious acoustic that captures both the intimacy and expansiveness of Brahms’ score.
Alexandre Tharaud – Concertos
Alexandre Tharaud follows up his 2020 album of contemporary piano concertos with a new release featuring three works by Thierry Pécou, Ramon Lazkano, and Alex Nante. Each concerto pairs Tharaud with a different orchestra and conductor: the Cara Bali Concerto by Thierry Pécou is performed with the Orchestre national de Lyon under Jonathan Stockhammer, a vivid and rhythmically charged piece marked by imaginative orchestral colors. Ramon Lazkano’s Mare Marginis, with the WDR Sinfonieorchester and Sylvain Cambreling, offers a more introspective and emotionally varied landscape, unfolding in an organic, free-flowing manner. Alex Nante’s Luz de lejos, performed with the Orchestre national de Lille and Emilia Hoving, returns to melodic writing, alternating reflective sections with lively toccata-like passages, maintaining tension and interest until the work’s quiet close. Throughout, Tharaud demonstrates deep engagement with the music, delivering performances of precision, sensitivity, and clear commitment to these contemporary voices.
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