Psenitsnikova takes us through four varied pieces, three requiring tape or tape delay, from Fritsch who founded the Feedback Studio in Cologne.
If Tosatti is encountered today, it is perhaps as Scelsi’s transcriber who momentarily popped up to claim a greater share of attribution.
Exercising a Stein fortepiano from 1799, Mitchell improvises brief thematic and harmonic transitions. These are mature Haydn sonatas, in which seemingly modest ideas are expertly probed.
This portrait disc reveals a consistency across several decades, a witty composer who admired Prokofiev and Classical forms.
With an assured understanding of the music, Zhu Xiao-Mei’s second take is incredibly personal, perhaps too quirky and nutty for purists.
An ever widening, ever brighter circle. Levin’s deep conversancy with the Romantic canon informs her spirited approach to both modern and period works.
Originally interred at the monastery of Santa Croce, Farinelli’s remains were moved to the Certosa in 1810 following the destruction of the former place by Napoleonic forces.
Folks expecting a metronome or brash chords will be surprised with Levingston’s limpid Glass recital.
Is Via Crucis colorless and ephemeral? Is Socrate religious? This duo piano release crafts a universe where Liszt, Satie and Cage blur.
Gubaidulina’s one-movement Triple Concerto is a consummate mystery. It does not present itself as a typical concerto requiring flamboyant soloists and an obliging orchestra.