Liszt’s views of music and in particular its relation with nature, art and literature has met much opposition from more conservative parts of the musical world of that time. His opponents, notably Robert Schumann, Johannes Brahms and the violinist Joseph Joachim, were horrified by Liszt’s concept of the ‘Unity of Arts’. To them, music was an absolute and self-contained art form, which stood on a much higher level than the more down to earth disciplines like painting and poetry, and had nothing to do with the reality of our daily lives.
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 00:50:27
Sonodore RCM 402
|Original Recording Format
Bert van der Wolf
Bert van der Wolf
Doopsgezinde kerk Deventer, The Netherlands
|Recording Type & Bit Rate
|December 12, 2015
[NOTE: This review was written as a combined review for all three albums of Annees del Pelerinage.]
These recordings reach back a few years, but they are very nice performances and the recording quality is excellent. I first tried Yoram Ish-Hurwitz’s recordings of Albeniz’ Iberia, and they were so nice that I wanted to hear what he might do with these. These are even better. Do they displace Aldo Ciccolini’s pioneering performances in my pantheon? No. But they are in better sound quality and they are very competitive.
I find I’m enjoying his performances of Années even more than his traversal of Iberia., perhaps I am too much imprinted by De Larrocha’s performances to hear his. Still, it is Années we’re discussing, so I must stay on topic. Ish-Hurwitz is fresh and spontaneous. With a sensitive touch during softer passages, Ish-Hurwitz is able to deliver a superb sense of drama. He spins a story with his performances that leaves me wanting more as the time just passes me by so quickly.
The recording is just that perfect balance of direct and reflected sound that Bert so often achieves in his recordings. Given that this was recorded 20 years ago, it stands as a strong testament to Bert’s innate sensitivities about getting a recording that sounds like a real instrument in a real natural acoustic space. This is something I’ve long treasured with his recordings.
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