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Whether or not these two artists intended an approach that would place Libeer’s piano on equal terms with Gatto’s unglossy chamber-scale violin sound I don’t know; but the instrument allows... —
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Hindemith: Das Marienleben for Soprano & Piano, Op. 27
Juliane Banse (soprano) & Martin Helmchen (piano)
This song cycle traces the story of Mary from birth to death. Juliane Banse, despite a slight edge to her voice, gets to grips with every word of Rilke’s poetry. —
Awards:
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The Guardian Classical Albums of the Year, 2018
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Re-Sound Beethoven Volume 6: Symphony No. 8
Gottlieb Wallisch (piano)
Orchester Wiener Akademie, Martin Haselböck
The Allegretto scherzando [of the Eighth] is delectably light…and Haselbock finds surprising sweetness beneath its mechanical surface. I like, too, how he relishes the playful rhythmic punctuation... —
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[Boncompagni’s] intimate lyricism, crystalline delivery of poetry and stylish musicianship are matched by cellist Marco Ceccato and his aptly named ensemble Accademia Ottoboni. —
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Resound Beethoven: Volume 7
Symphony No. 4 & Piano Concerto No. 4
Gottlieb Wallisch (piano)
Orchester Wiener Akademie, Martin Haselböck
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Le Sage’s ample arsenal of touch and release strategies and his infinitely calibrated dynamic spectrum reveal nuances of textural richness inherent in this intimate repertory. Replete though... —
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The Essentials of Café Zimmermann
Café Zimmermann, Pablo Valetti, David Plantier, Petr Skalka, Céline Frisch, Anna Fontana, Dirk Börner, Constance Börner
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