Jonathan Blumhofer
Move over, Beethoven, Rachmaninoff, and Bartók: the pantheon of great Third Piano Concertos is growing.
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This new recording of Charles Villiers Stanford’s”Requiem” by Martyn Brabbins, the City of Birmingham Symphony Orchestra (CBSO), and the University of Birmingham Voices, is beautiful and often memorable.
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An album that does admirable justice to one of the most prolific, significant, and increasingly long-lived composers of a remarkable generation.
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Randall Goosby’s sophomore album proves that the violinist is the real deal.
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This is an album of top-notch orchestral playing. Yet the real star is Karina Canellakis.
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In place of coherent, in-depth analysis, the author has provided us with a series of short profiles on various individuals, some of them familiar, others less so. The tack presents problems that can’t be overcome.
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The best items in this all-Mozart album are the concertos.
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Violinist Maria Ioudenitch seems to know how to get directly at the expressive core of this fare without devolving into showboating or histrionics.
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In both performances tempos are fleet but not rushed. The big moments – from the hellish apex of the first movement’s development to the screaming climax of the Scherzo and the cathartic resolution of the finale – pack heavy punches.
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Music Documentary Review: “Music Under the Swastika” — Uncomfortably Timely
The road to ultimate destruction is lined by spiritual apathy, intellectual carelessness, and moral equivalency.
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