09 Strauss HeldenlebenRichard Strauss – Ein Heldenleben; Mahler – Rückert Lieder
Sonya Yoncheva; Orchestre symphonique de Montréal; Rafael Payare
Pentatone PTC 5187201 (pentatonemusic.com/product/30306)

Rafael Payare’s latest release with the OSM follows up on their highly effective Mahler Fifth Symphony recording with a disc devoted to Richard Strauss’ monumental tone poem depicting the heroic life of none other than his very self. In the course of this lengthy work Strauss mocks his critics, worships his wife, goes to war with his perceived enemies and celebrates his own weighty accomplishments. The scenario is ridiculous on the surface, but the execution is undeniably brilliant, in no small part due to Payare’s keen affinity for the genre. He’s well aware that there’s more to this sporadically bombastic music than the notes and brings to the score an idiomatic and affectionate reading; the orchestra is with him all the way, expertly negotiating the sharp curves on the Strauss autobahn. Concertmaster Andrew Wan contributes an exceptionally multi-dimensional interpretation of the extended solo violin part at the centre of the work, a musical portrait of Strauss’ wife and muse Pauline, whose notorious mood swings and oft-times hectoring tone confirm his perception that “every minute is different from what she was a minute before.” 

The inclusion of Mahler’s Rückert-Lieder as filler material is puzzling. Why not more Strauss instead? There are more than 40 orchestral songs to choose from. The Bulgarian diva-du-jour Sonya Yoncheva has made quite a name for herself recently in the operatic world, but her tentative take on Mahler’s introspective and decidedly non-operatic music left me quite unmoved. Payare and the reduced forces of the OSM do their best to not get in the way, but it’s a hopeless cause. Turn instead to the great Mahler singers of the past such as Baker, Ludwig, Ferrier or Fischer-Dieskau if you truly want to savour these songs.

11 Moments MusicauxMoments Musicaux
Petrit Çeku
Eudora Records EUD-SACD-2401 (eudorarecords.com)

Guitarist Petrit Çeku was born in Prizen, Kosovo and began his musical studies at the Lorenc Antoni music school before attending the Zagreb Academy and completing his studies with Manuel Barrueco at the Peabody Conservatory in Baltimore. Since then, he has performed recitals throughout Europe and continues to perform regularly with the Zagreb Soloists. This Eudora label recording titled Moments Musicaux is his third and affords the listener a glimpse into the world of Franz Schubert either through transcriptions or compositions with a Schubertian connection.

Joseph Mertz’s transcriptions of six lieder – four from Schwanengesang, one from Winterreise and a standalone, Lob der Tränen – are all skillfully constructed miniatures, as compelling for the guitar as they are for voice. Çeku’s warmly resonant tone helps to evoke a true sense of intimacy – from the anguished tone of Aufenthalt to the familiar Ständchen 

The Variations on a Waltz of Schubert Op.4 by Croatian composer Ivan Padovec is a charming set based on the Waltz Op.9 No.2. Beginning with the simple waltz melody, the seven variations require considerable dexterity, but Çeku easily meets the challenges with a supple technique. 

Manuel Ponce was one of the first Mexican composers to be widely recognized outside his native country and during his career he had close ties to the renowned guitarist Andrés Segovia. His four-movement Sonate Romantique “Hommage à Schubert” is written in a lyrical style of which Schubert surely would have approved. In the words of Segovia, the piece “honours the instrument “ – and so does Çeku throughout this fine recording.

12 Clare Longendyke…of dreams unveiled
Clare Longendyke
Independent (clarelongendyke.com)

The discography of Debussy’s Préludes is already distinguished but here is a remarkable addition to it. What makes this so in the first instance is that the performer, pianist Clare Longendyke, abjures dancing her way dreamily through Debussy’s deux livres des Préludes. The very inclusion of the Préludes came about after Longendyke planned a programme around a commissioned set of Piano Portraits by her composer friend Amy Williams. Also included in this musical palimpsest are works by a fellow composer and Impressionist Anthony R. Green. 

The result is a work of remarkable pianistic invention. For one thing few other piano recordings contain so many unique features of Impressionism – and particularly Debussy’s genius. For instance, few pianists in recent memory play Debussy – and consequently the music of Williams and Green – with such wondrous ease in conveying both profundity and levity. Moreover, with her sheer mastery of the dynamics of the keyboard, combined with the nuances of)pedalling, Longendyke brings to the fore the most important aspect of this repertoire: its intimacy. 

Williams’ music is written in the form of portraits. Each is so vivid that the characters shimmer through the speakers like holographic images, dancing (as holograms do) as they are conjured by Longendyke’s pianism. They are interspersed – as are Green’s – in sets of Debussy’s Préludes. The most eloquent moments come during the set that begins with the Prélude Voiles, through Williams’ Yvar to Les sons et les parfums tournenet dans l’air du soir.

Listen to '…of dreams unveiled' Now in the Listening Room

13 Philip Chiu VogagesVoyages (Debussy; Alice Ping Yee Ho)
Philip Chiu
ATMA ACD2 2844 (atmaclassique.com/en)

In 2023, Philip Chiu, pianist, Montreal resident and inaugural recipient of the generous Prix Goyer, was once again fêted, this time with a JUNO award for Fables (ATMA Classique). Boldy jumping generations, continents and styles in both showcasing and finding the synergies between the work of Maurice Ravel and the Anishinaabekwe composer Barbara Assiginaak in a single recorded artefact, Fables proved a musically satisfying enough formula that Chiu has revisited this interdisciplinary idea with 2024’s equally excellent Voyages. Here, handling the music of Claude Debussy and Alice Ping Yee Ho with equal aplomb, Chiu puts forth a “deeply personal album” that explores in sound the notion of belonging.

As a Chinese native, transplanted Torontonian and a long-time Quebecer, the reflective idea of nostalgia – perhaps for a place, time or community that may be here or may not yet have materialized – is woven throughout the recording. Take, for example, Ho’s three-part suite Hong Kong Nostalgia that through tempo, key and changing compositional forms affords Chiu opportunity to, as he states in the liner notes, “attempt to capture something elusive to me: a sense of belonging.” Just as there is a kind of searching aesthetic present compositionally in this suite – from the Connaught Centre to The Ten Thousand Buddhas Monastery to that city’s Night Markets – there is an introspective and wanderlust quality to Chiu’s playing as he plumbs the compositional depths through an exploration of “reflections and musings.” What is beautifully captured, however, is Chiu’s distinct touch, playful mastery of the instrument and ongoing creativity.

Listen to 'Voyages (Debussy; Alice Ping Yee Ho)' Now in the Listening Room

01 Le temps retrouveThe three French sonatas that form the bulk of Le Temps retrouvé, the new CD from the brilliant husband-and-wife duo of violinist Elena Urioste and pianist Tom Poster, were all published during the decade 1916-26, a period of great change in the musical landscape (Chandos CHAN 20275 chandos.net/products/catalogue/CHAN%2020275).

Despite initial parental opposition and a life of domestic upheaval Mélanie, Bonis (1858-1937) composed a huge amount of music, most of which still lies unexplored. Her Violin Sonata in F-sharp Minor Op.112 is a fascinating and profoundly musical work.

Fauré’s Violin Sonata No.2 in E Minor Op.108 from 1916-17 is from his late, forward-looking period, but those typical sweeping piano arpeggios and flowing melodies still abound.

Apart from the remarkable Veloce middle movement (literally a short ride in a fast car) Reynaldo Hahn’s lyrical and warm Violin Sonata in C Major from 1926 looks back nostalgically to a gentler time.

Lili Boulanger’s popular Nocturne, published in 1914, provides a suitably dreamy ending to a superb disc.

02 Lionel TertisOn A Lionel Tertis Celebration the violist Timothy Ridout, winner of the 2016 Lionel Tertis Competition, pays tribute to the legendary English viola player with an outstanding 2CD recital featuring compositions and arrangements by Tertis himself as well as works by his friends and students. Frank Dupree is the pianist on CD1, and James Baillieu on CD2 (harmonia mundi HMM9053767.77 harmoniamundi.com/en/albums/a-lionel-tertis-celebration)

Stirring performances of two major works by Tertis students bookend the recital, York Bowen’s Viola Sonata No.1 in C Minor Op.18 opening CD1 and Rebecca Clarke’s Viola Sonata closing CD2. Sunset and Hier au Soir are Tertis originals, and there are arrangements by him of short pieces by Brahms, Schumann, Fauré and Mendelssohn, as well as by John Ireland and William Wolstenholme.

Other composers represented are Frank Bridge, Eric Coates, Cecil Forsyth, Vaughan Williams, Bowen and Wolstenholme again, and W. H. “Billy” Reed of Elgar violin concerto fame, whose lovely Rhapsody opens CD2. Two Kreisler works close CD1: Ridout’s own arrangement of Liebeslied; and a stunning performance of Alan Arnold’s arrangement of the Praeludium and Allegro.

03 UpheavalThat same tumultuous period is central to Upheaval, with cellist Janne Fredens and pianist Søren Rastogi presenting compositions by four female composers active around the First World War years (OUR Recordings 6.220683 ourrecordings.com).

The Dutch pianist and composer Henriëtte Bosmans (1895-1952), whose career was disrupted by the Nazi occupation in the1940s and never recovered, is represented by her 1919 Cello Sonata in A Minor. The reputation of the prolific Croatian composer Dora Pejačević (1885-1923) continues to grow following the recent revival of her terrific Symphony in F-sharp Minor. Her 1913 Cello Sonata in E Minor Op.35 is a striking and substantial late-Romantic work, showing the clear influence of Brahms and Dvořák.

Two pieces by the Boulanger sisters, Lili’s Nocturne again and Nadia’s Trois pièces from 1911 complete an excellent disc full of sensitive and finely judged playing.

Listen to 'Upheaval' Now in the Listening Room

04 Path to the MoonWilliam T. Horton’s fantastic image The Path to the Moon was the inspiration for the new album from cellist Laura van der Heijden and pianist Jâms Coleman, their CD Path to the Moon including music relating to the moon and the night, as well as works evoking mankind’s striving for new heights (Chandos CHAN 20274 chandos.net/products/catalogue/CHAN%2020274).

It’s an eclectic program anchored by three 20th-century sonatas: the 1957 Cello Sonata by the American George Walker; Britten’s Sonata Op.65 and Debussy’s 1915 Cello Sonata. 

Fittingly, given the singing nature of van der Heijden’s playing, virtually all of the transcriptions are of vocal music: Korngold’s Schönste Nacht; Lili Boulanger’s Reflets; Florence Price’s Night; Britten’s Sonetto XXX; Debussy’s Beau soir; Fauré’s Clair de lune; Takemitsu’s Will Tomorrow, I Wonder, Be Cloudy or Clear?; and Nina Simone’s take on Jonathan King’s Everyone’s Gone to the Moon. Debussy’s Clair de lune ends a lovely disc.

05 Mikyung SungThe South Korean double-bassist Mikyung Sung is the remarkable soloist on The Colburn Sessions, a brilliant two-disc set where she is ably supported by pianist Jaemin Shin, the two having worked together in the Artist Diploma course at the Colburn School in Los Angeles in 2017 (Modus Vivendi Media MVM 2301 mikyungbass.bandcamp.com/album/the-colburn-sessions).

Bottesini’s Tarantella is a dazzling opening track, Sung displaying stunning facility and clarity. The same composer’s Capriccio di Bravura and the more lyrical Elegy No.1 are followed by a transcription of the Meditation from Massenet’s Thaïs. Hindemith’s Sonata for Double Bass and Piano and the impressive 1967 Sonata for Double Bass and Piano by Hungarian composer Vilmos Montag (1908-91) end disc 1.

The second CD is even more impressive, with the Andante from Rachmaninoff’s Cello Sonata Op.19 sandwiched between two outstanding sonatas: Mendelssohn’s Cello Sonata No.2 Op.58 with an astonishing final movement that takes your breath away, and Franck’s Violin Sonata in A Major in the composer-endorsed transcription for cello by Jules Delsart, Sung playing direct from the cello part – which she presumably also does with the Mendelssohn. 

Superb playing from both performers is beautifully captured in single continuous takes live to stereo. Complete performances of the Hindemith, Mendelssohn and Franck sonatas can be viewed on Sung’s website, mikyungbass.com. 

Listen to 'The Colburn Sessions' Now in the Listening Room

06 ImaginingWorldsWanchi Huang is the violinist on Imagining Worlds – Music for Solo Violin, a CD that features new music by composers described as compelling voices in contemporary American music (Navona Records NV6592 navonarecords.com/catalog/nv6592).

The recital comprises Adolphus Hailstork’s rather bland Suite for Solo Violin, Judith Shatin’s somewhat oppressive For the Fallen – for Amplified Violin and Electronics, Meira Warshauer’s Jewish-influenced In Memoriam and Brach (Blessing), and Jeffrey Mumford’s an expanding distance of multiple voices, the five movements totaling only 11 minutes. John Corigliano’s Red Violin Caprices completes the disc.

There’s interesting writing on display here, but only the Corigliano really leaps out and separates itself from the crowd; it certainly brings by far the best playing from Huang.

07 Almeida PradoThe music of a Brazilian composer who lived from 1943 to 2010 is explored on José Antônio de Almeida Prado Works for Violin and Cello, a new addition to The Music of Brazil series featuring violinist Emmanuele Baldini and cellist Rafael Cesario (Naxos 8.574459 naxos.com/Search/KeywordSearchResults/?q=Almeida%20Prado%20-%20Works%20for%20Violin%20and%20Cello).

Only two works – Le livre magique de Xangô from 1985 and Das Cirandas from 1999 – are duets. The 2004 Praeambulum for solo cello was commissioned as an intro to Bach’s Cello Suite No.3 in C Major BWV1009, while The Four Seasons for solo violin was written for a young performers’ national competition in 1984, each brief movement a study in various violin techniques.

The lyrical and extremely brief – under two minutes – Capriccio für Constança und Ana Luiza from 1998 and the Solo Violin Sonata from 2000, dedicated to his daughter, one of Brazil’s leading violinists and the most substantial work on the CD, end a recital of solid performances but with few real musical high points.

08 Trio Con BrioThe Trio con Brio Copenhagen, which celebrates its 25th anniversary this year performs piano trios by Mieczyslaw Weinberg and Franz Schubert on The Passenger, a CD that surveys two young composers whose compositions offer poignant reflections on life, mortality and ethereal beauty (Orchid Classics ORC100282 orchidclassics.com).

Weinberg was a Polish Jew who fled Warsaw when the Nazis invaded. His Piano Trio Op.24 was written in Moscow in 1945 when he was 25; characterized by unrest and despair, it occupies much the same sound world as that of his friend Shostakovich. The finale features a waltz that foreshadows his opera The Passenger, where a waltz links the evil of a concentration camp to an uncertain future.

Written in 1827, just a year before his early death, Schubert’s Piano Trio No.2 in E-flat Major Op.100 grew from Schubert’s encounter with the Swedish song Se solen sjunker, which describes the sinking sun and all hope being chased away by night’s shadows. The funeral march of the second movement, based on the song, is the emotional centre of the work.

09 Trio ZimbalistThe Weinberg work is also heard on Piano Trios of Weinberg, Auerbach & Dvořák, a top-notch debut CD by Trio Zimbalist intended as “a heartfelt response to the enduring human struggle unfolding around the world” (Curtis Studio curtis.edu/curtis-studio).

The album is cast in the spirit of the Dumka, a Ukrainian term meaning “thought.” In music, Dumky were sung by traveling minstrels, and often expressed the laments of oppressed people. It was this form that Dvořák used as the basis for his Piano Trio No.4 in E Minor Op.90, “Dumky”, an extensive six-movement work that closes the disc. 

We have already noted the circumstances surrounding the composition of the Weinberg trio. Lera Auerbach’s quite brief but striking three-movement Piano Trio No.1 Op.28 with its impassioned middle Andante lamentoso movement and eerie and aggressive finale, was written following her defection from the Soviet Union in 1991. The Dvořák also fits in here: it is often overlooked that performances of his works were suppressed in the Czechoslovak Republic for a while after 1945.

10a Stravinsky EhnesThere are two Stravinsky Violin Concerto CDs this month, one featuring James Ehnes with the BBC Philharmonic under Sir Andrew Davis (Chandos CHSA5340 chandos.net/products/catalogue/CHSA%205340) and the other with Frank Peter Zimmermann and the Bamberger Symphoniker under Jakub Hrůša (BIS-2657 prestomusic.com/classical/products/95571 – Igor-stravinsky-bartok-martin).

Written for – and premiered by – Samuel Dushkin in 1932, the concerto is a four-movement work in Stravinsky’s neo-classical style. Ehnes is his usual flawless self in a supremely confident performance, as smooth as ever and with a clear, pure tone, especially in the two middle Arias. The rest of the Chandos Stravinsky disc is orchestral music in really fine performances: the Scherzo à la Russe, a showpiece written for the Paul Whiteman band on the composer’s arrival in California in the early 1940s; the Suites Nos.1 & 2, arranged from piano duets from the 1910s; and Apollo Musagète, a ballet in two parts for strings from 1927-28 that marked a complete rejection of his previous ballets and a move to pure form.

10b Stravinsky ZimmermannThe Zimmermann disc, on the other hand, is all violin and orchestra, linking composers who put down roots in the West without abandoning their Eastern European identities. Zimmermann’s Stravinsky concerto is another outstanding performance, albeit a fair bit faster than Ehnes: the Zimmermann timings for the four movements, which only range from four to six minutes in length, are a significant 20 to 30 seconds shorter than those of Ehnes. There’s no real sense of a faster or spikier approach here though, with Ehnes and Davis possibly just more relaxed in tempo. Dushkin also premiered Bartók’s Rhapsodies Nos.1 & 2, given outstanding performances here, as well as the 1943 New York version with piano of Martinů’s Suite concertante, which has two versions. The second, heard here, was started in 1938 in Paris before Martinů left Europe, and completed in New York and orchestrated in 1945. While still in Paris Martinů apparently wrote three movements for another version of the suite, one of which – Méditation – completes a terrific CD.

11 Ysaye RevesEugène Ysaÿe: Rêves features world-premiere recordings of two newly discovered concertos by the Belgian virtuoso and composer in performances by Philippe Graffin and the Royal Liverpool Philharmonic Orchestra under Jean-Jacques Kantorow (Avie Records AV2650 avie-records.com).

Following the recent discovery of a first movement of an early Violin Concerto in E Minor a fully orchestrated second movement and a third movement in violin and piano score both came to light, the latter being orchestrated by Ysaÿe expert Xavier Falques to complete the concerto. Composed in 1884-85 it was apparently intended to establish a new approach to instrumental technique, which Ysaÿe felt had stagnated since the works of Vieuxtemps.

It’s not clear why he abandoned the concerto, but in 1893 Ysaÿe wrote his Poème concertant, a single-movement work imbued with love for his student Irma Sèthe. Recently discovered in manuscript form, it was orchestrated by Erika Vega with advice from Falques.

Pianist Marisa Gupta joins Graffin for the 2 Mazurkas de salon Op.10 and the Rêve d’enfant Op.14 that close a fascinating CD.

12 VW RetrospectThere’s a glorious CD of Vaughan Williams music that would normally be well outside the limits of this column, but Vaughan Williams: Retrospect with the London Choral Sinfonia under Michael Waldron contains not only some simply beautiful works for voices and string orchestra but also a lovely performance of the Violin Concerto in D Minor – Concerto Accademico with the always reliable Jack Liebeck as soloist (Orchid Classics ORC100289 orchidclassics.com).

It’s not a substantial work – only about 16 minutes long – but the glorious middle movement, which takes up almost half of the work, is Vaughan Williams at his pastoral best and Liebeck is in his element. As an added bonus, cellist Thomas Carroll is the lovely soloist in the world-premiere recording of the composer’s arrangement of Bach’s Schmücke dich,o liebe Seele

13 AlasOn ALAS cellist Patrick Langot and violinist Alexis Cardenas and the Orchestra de Lutetia under Alejandro Sandler pay tribute to the Argentinian music so dear to their hearts by presenting world-premiere recordings of works by three contemporary Argentinian composers (Évidence Classics EVCD108 orchestredelutetia.com/alas). 

The title track, the 2021 Alas – fantaisie for violin, cello and string orchestra by Gerardo di Giusto (b.1961) is a strong, strident work with malambo and baguala rhythms, while the atmospheric 2020 Descaminos for solo cello, string orchestra and percussion by Gabriel Sivak (b.1979) was inspired by the vast Pampas region. Both works were commissioned by the orchestra.

The fascinating 1986 Llorando silencios, six Quechua songs for solo cello by Alejandro Iglesias Rossi (b.1960) evokes ancestral sonorities, the cello sounding in turn like the traditional instruments the quena, charango and erke.

The remainder of the CD is given over to the 1953 Variaciones concertantes Op.23 by Alberto Ginastera, the cello and harp being joined by various orchestral soloists to develop the thematic material, with an explosive malambo finale.

14 ScarlattiIn a 1953 essay the Domenico Scarlatti biographer Ralph Kirkpatrick (who implemented the K. numbering system) noted the clear influence of the Spanish guitar on Scarlatti’s music, and the extent to which it permeated his keyboard works is beautifully illustrated on the digital-only release Scarlatti 12 Sonatas by the two guitarists Matteo Mela and Lorenzo Micheli (Evidence EVCD107 soloduo.it).

As Micheli’s booklet notes point out, Scarlatti’s language often echoes guitar playing, the Hispanic character stemming from timbres, techniques and stylistic traits derived from the guitar, and the light, volatile style of writing in the sonatas, most often for two voices is perfectly suited to the nature of the guitar. The 12 sonatas here are those numbered K.8, K.24, K.32, K.87, K.99, K.162, K.202, K.386, K.455, K.466, K.519 and K.531.

Superb transcriptions (uncredited, but by the performers, presumably) and simply outstanding playing, beautifully recorded, result in a truly captivating release.

01 Dall AbacoDall’Abaco and the Art of Variation
Elinor Frey; Accademia De’Dissonanti
Passacaille 1141 (passacaille.be)

While the term “supergroup” is usually applied to bands like The Traveling Wilburys and Temple of the Dog, the term also suits the Accademia de’ Dissonanti, composed of members who are each gifted performers in their own right and come together to make consistently stunning recordings.

This disc features music by Giuseppe Clemente Dall’Abaco (1710-1805), and is the premiere recording of his two cello trios and three cello sonatas. If the name is unfamiliar, that is because Dall’Abaco’s compositions are relatively new to modern audiences: The musical output of this cellist-composer has only emerged in recent decades, and its craftsmanship and charm have won over both performers and listeners alike. 

Born in Brussels, Dall’Abaco spent the majority of his childhood at the Bavarian court in Munich, where his father, composer Evaristo Felice Dall’Abaco, was employed as Kapellmeister. Throughout the 1730s and 1740s, the cellist’s reputation grew as he began to travel and perform in important European cities such as London, York, Paris and Vienna, eventually becoming renowned as Europe’s most gifted cellist.

Featuring the equally gifted (and very much alive) cellists Octavie Dostaler-Lalonde, Elinor Frey and Eva Lymenstull, as well as harpsichordist Federica Bianchi and theorbist Michele Pasotti, each work on this recording is a delight to listen to. The cello trios are rich and complex, with intertwining melodic lines and timbral blends that create fascinating polyphonic effects. The cello sonatas, with variations composed by Elinor Frey, are grin-inducing in their joviality, but never superficial.

This recording is a revelatory introduction to one of history’s “newest” composers, and a welcome return to the masterful musicians that make up early music’s own supergroup, the Accademia de’ Dissonanti.

02 Igor LevitFantasia
Igor Levit
Sony 19658811642 (igor-levit.com)

Notated improvisatory style has been a facet of western music as far back as the Renaissance and this two-disc Sony recording simply titled Fantasia featuring pianist Igor Levit in an attractive exploration of piano repertoire following this principle spanning a 300-year period. The Russian-born soloist began his musical studies at the Salzburg Mozarteum and in 2005, was the winner of the Arthur Rubinstein International Piano Master Competition in Tel Aviv.

An arrangement of the Air from Bach’s Orchestral Suite No.3 may seem an unusual opening for a recording of music focusing on extemporization, but Levit’s interpretation is refined and understated. In contrast is the renowned Chromatic Fantasy and Fugue BWV903, very much a bravura piece of formidable invention. Levit delivers a compelling and well-balanced performance, his phrasing always clearly articulated. Even more challenging is the Piano Sonata in B Minor by Liszt, a composition of herculean difficulties. Levit is seemingly unfazed by the technical challenges and easily fashions the ever-contrasting moods into a cohesive whole.

Disc two opens with Berg’s angular and at times unsetting Piano Sonata Op.1, a fine example of his early style. Nevertheless, the magnum opus of the disc and the set itself is Busoni’s 34-minute Fantasia Contrappuntistica. The piece is truly substantial in scope and borrows from several musical styles involving a subdued and introspective opening, a complex Bach-like fugue followed by a dramatic section with dissonant chordal progressions leading to an unexpectedly quiet conclusion. Kudos to Levit for tackling this oddity and making the most of it. 

The inclusion of shorter pieces such as Liszt’s Der Doppelganger and Busoni’s Nuit de Noel further contribute to a well-balanced program.

Back to top