Album d'un Voyage: Vol.1 - Europe
P21 - P 21032N
Wykonawcy
Cyprien Katsaris, piano
Cyprien Katsaris, piano
Sibelius:
Finlandia op. 26 Nr. 7
Hannikainen:
Kappaleita Lapsille op. 21
Pianokappaletta op. 20
Leifs:
Rimnadanslög Nr. 4
Latour:
Rule Britannia
Röntgen:
Zes Oud-Nederlandsche Dansen op. 46
Albeniz:
Tango
Jaell:
Souvenirs d'Italie
Economou:
Song of Freedom Nr. 1-21
Dance from Kalamata "Kalamatianos"
Finlandia op. 26 Nr. 7
Hannikainen:
Kappaleita Lapsille op. 21
Pianokappaletta op. 20
Leifs:
Rimnadanslög Nr. 4
Latour:
Rule Britannia
Röntgen:
Zes Oud-Nederlandsche Dansen op. 46
Albeniz:
Tango
Jaell:
Souvenirs d'Italie
Economou:
Song of Freedom Nr. 1-21
Dance from Kalamata "Kalamatianos"
REVIEWS
Katsaris’ fascinating musical voyage around Europe (taken from live concerts) begins innocently, with the pipings of Liszt’s Fleurs mélodiques des Alpes, an Allegro Pastorale that was later to be reworked into the first year of the Années de pelerinage. The performance is confident, pure, and yet utterly stylistic. Richard Strauss’s tender “An einsamer Quelle” is a song without words – Katsaris is infinitely more attuned than Stefan Vaselka on his all-Strauss Naxos disc. The transcription of The Blue Danube is a tour-de-force. Katsaris’s reading is beautifully crafted and impeccably delivered (Jaëll’s Caprice on La traviata is similarly fine). […]. A fascinating off-the-cuff improvisation on Brahm’s 11th dance […]. The ruminative nature of the Eller pieces is perfectly conveyed. […]. The delightful variations on “Rule Britannia” by Latour (1766-1840) are despatched with flair. […]. Katsaris is at home in Constantinidis’ take on the traditional Kalamatianos dance; the disc ends in Cyprus with Nicolas Economou’s deeply felt Song of Freedom.
International Piano (United Kingdom)
The Brahms Hungarian Dance No. 1, the Schütt paraphrase of Johann Strauss Jr.’s An der schönen blauen Donau waltz, and the Latour variations on Rule Britannia are surely delightful when played with the ease that [Katsaris] brings to them. Equally thrilling is his concluding buildup in his own transcription of Sibelius’s Finlandia when he makes the piano sound as big as an orchestra.
Fanfare (USA)
Both collections [“Album d’un Voyageur” & “Viennese Connections”] interleave “serious” art with more “popular” works, original works with transcriptions and adaptations, canonical items with pieces you’re liable never to have heard before. […]. And both collections are performed with the refreshing intelligence, wit, legerdemain, and variety of utterance that mark Katsaris’s maturity.
High points? The “Unfinished” Symphony, where Katsaris brings out the splinters in Reinecke’s rough-hewn transcription to excellent effect […]; Albert Harris’s deliciously tacky paean to Warsaw, played with just the right self-consciousness to keep it from turning tasteless; Liszt’s transcription of Erlkönig, a torrential onslaught that reminds us that Katsaris, for all his mellowing, has not lost the virtuoso smash of his earlier days: Finlandia, which starts which such a growl and continues with such monumental assurance that you hardly miss the orchestra: Jaëll’s Traviata paraphrase, decked with such finely wrought glitter that the music’s gestural banality registers. […] the playing is so committed and so consistently inspired, and the music is so varied […].
Fanfare (USA)
Recordings: 1988-2008
Katsaris’ fascinating musical voyage around Europe (taken from live concerts) begins innocently, with the pipings of Liszt’s Fleurs mélodiques des Alpes, an Allegro Pastorale that was later to be reworked into the first year of the Années de pelerinage. The performance is confident, pure, and yet utterly stylistic. Richard Strauss’s tender “An einsamer Quelle” is a song without words – Katsaris is infinitely more attuned than Stefan Vaselka on his all-Strauss Naxos disc. The transcription of The Blue Danube is a tour-de-force. Katsaris’s reading is beautifully crafted and impeccably delivered (Jaëll’s Caprice on La traviata is similarly fine). […]. A fascinating off-the-cuff improvisation on Brahm’s 11th dance […]. The ruminative nature of the Eller pieces is perfectly conveyed. […]. The delightful variations on “Rule Britannia” by Latour (1766-1840) are despatched with flair. […]. Katsaris is at home in Constantinidis’ take on the traditional Kalamatianos dance; the disc ends in Cyprus with Nicolas Economou’s deeply felt Song of Freedom.
International Piano (United Kingdom)
The Brahms Hungarian Dance No. 1, the Schütt paraphrase of Johann Strauss Jr.’s An der schönen blauen Donau waltz, and the Latour variations on Rule Britannia are surely delightful when played with the ease that [Katsaris] brings to them. Equally thrilling is his concluding buildup in his own transcription of Sibelius’s Finlandia when he makes the piano sound as big as an orchestra.
Fanfare (USA)
Both collections [“Album d’un Voyageur” & “Viennese Connections”] interleave “serious” art with more “popular” works, original works with transcriptions and adaptations, canonical items with pieces you’re liable never to have heard before. […]. And both collections are performed with the refreshing intelligence, wit, legerdemain, and variety of utterance that mark Katsaris’s maturity.
High points? The “Unfinished” Symphony, where Katsaris brings out the splinters in Reinecke’s rough-hewn transcription to excellent effect […]; Albert Harris’s deliciously tacky paean to Warsaw, played with just the right self-consciousness to keep it from turning tasteless; Liszt’s transcription of Erlkönig, a torrential onslaught that reminds us that Katsaris, for all his mellowing, has not lost the virtuoso smash of his earlier days: Finlandia, which starts which such a growl and continues with such monumental assurance that you hardly miss the orchestra: Jaëll’s Traviata paraphrase, decked with such finely wrought glitter that the music’s gestural banality registers. […] the playing is so committed and so consistently inspired, and the music is so varied […].
Fanfare (USA)
Recordings: 1988-2008
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