Reviews
#04/2022 (FR)
![]() ![]() That this bow so starved of repertoire – you will even find the 10th Sonata by Richard Flury, the Poème automnal by Respighi – is finally illustrated by such a careful publication, what a joy! » |
#03/2022 (US)
![]() ![]() « [...] In this memorial collection the finale of the Tchaikovsky Violin Concerto and both performances of the Sibelius Concerto are propulsive and driven, but they are never out of control. There is clear purpose and direction in the playing, and Gitlis also clearly listens to the orchestra, reacting to touches of phrasing from the first-desk soloists. Throughout this entire set, in 11 hours of playing there is nothing that sounds as if Gitlis is on automatic pilot. [...] Two exciting performances document Gitlis’s partnership with another highly individual artist, pianist Martha Argerich. Their 2006 reading of Mozart’s Violin Sonata No. 18 in G, K 301, may be too intense for some listeners, but a similar approach might seem appropriate for Beethoven’s “Kreutzer” Sonata from 2003. I’ll admit to being swept away by both. One feels that the violinist and pianist are enjoying pushing each other to extremes. [...] Some unusual repertoire adds to the value of this set, particularly Viotti’s First Violin Concerto and August Wilhelmj’s reorchestration of the first movement of Paganini’s First Violin Concerto. [...] The level of spontaneity in Gitlis’s playing, and its extremes, means that there will be less than perfect ensemble all the time. The end of the Tchaikovsky Concerto, for instance, is a scramble. If precision is essential to your enjoyment of music, probably this is not the best place to look. But if you are willing to go along on a wild ride, there is much here that is thrilling. [...] The quality of Rhine’s transfers, done by Emilio Pessina, is superb throughout. This is actually the label’s second Gitlis retrospective; it was preceded in 2019 by a two-CD set titled Ivry Gitlis: The Early Years, which I have not heard. [...] But in general Rhine has created a valuable tribute to one of the 20th century’s genuinely important violinists whose recorded legacy prior to the release of these two sets has been inadequate in representing his talent. » |
#02/2022 (UK)
![]() This is a well compiled and formidably performed set. Restorations are excellent and the documentation is pertinent and sports some fine photographic reproductions. It marks a fitting end to the Scarpini odyssey on this label.»
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#01/2022 (FR)
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#29/2021 (FR)
![]() ![]() Dec.2021/Jan.2022 | Jean-Charles Hoffelé | CLASSICA No.238 (pag.99) | Pietro SCARPINI (1911-1997) | « Rhine Classics réunit le legs inespéré d'un génie du piano n'ayant presque rien laissé au disque. Un petit miracle »
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#28/2021 (FR)
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#27/2021 (UK)
![]() ![]() December 2021 | GRAMOPHONE | Editor's Choice | Henryk Szeryng - live in USA |
#26/2021 (UK)
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#25/2021 (UK)
![]() Gabriella Lengyel (violin) Jenő Hubay's Last Pupil rec. 1951-1972 RHINE CLASSICS RH-018 The violinist Gabriella Lengyel (1920-1993) made only three commercial LPs in Paris – two private releases for Voxigrave in 1951, and one for Ducretet-Thomson in 1953. This accounts for the fact that she is relatively unknown today. This 9 CD set from Rhine Classics of live and studio recordings will, hopefully, redress the balance. The collection has been approved by the violinist’s brother Attila (Atty) just a year before his death in 2018. The restorations are superb, as is the accompanying documentation, with the cache of photographs an added bonus. |
#24/2021 (UK)
![]() As with the previous volumes, the remasterings are superb in every respect. The accompanying booklet has some fine photos documenting the pianist’s career. The whole Scarpini project has been a labour of love for Emilio Pessina and I thank him for his commitment and endeavours.» |
#23/2021 (FR)
![]() ![]() En rien un hommage funèbre ! [...] Folie !, le Finale du Sibelius avec Gérard Devos qui entraîne le Philharmonique dans une course incendiaire. Quel archet !, qui prend tous les risques et brûle ses cordes ! Admirable Ivry, tout entier vivant dans cette somme prodigieuse, ne la ratez pas ! » |
#22/2021 (UK)
![]() The booklet presentation is customarily attractive and 24bit 96 kHz remastering has been employed throughout. Scarpini’s legacy can now be seen in all its variety and richness in this series of Rhine releases and this latest example is no less impressive than the previous examples.» |
#21/2021 (UK)
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#20/2021 (UK)
![]() Some applause and tuning (both cut short) have been included, the recorded sound in both concerts is very fine indeed, and the notes are good. Presenting two works new to Szeryng’s discography should prove to be a particular draw, not least in such handsomely accomplished readings.» |
#19/2021 (UK)
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#18/2021 (UK)
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#17/2021 (UK)
![]() July 2021 | Rob Cowan | GRAMOPHONE | Great Musicians from under the Radar : Aldo FERRARESI & Pietro SCARPINI |
#16/2021 (FR)
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#15/2021 (DE)
![]() ![]() Gabriella Lengyel won the second prize in an international music competition in Vienna in 1937. In the review of the award winners’ concert, it said: »A petite, dark-haired girl, the violinist Gabriella Lengyel, appears and plays a virtuoso Valse Caprice with such gorgeous verve and dazzling technique that one was involuntarily reminded of Erika Morini when she was still an adolescent teenager celebrating her first triumphs.« That was no exaggeration. The recordings made available for this edition by the Swiss violinist, composer, and conductor Urs Joseph Flury demonstrate a system of values primarily oriented towards substance. For the jury: Wolfgang Wendel ![]() |
#14/2021 (UK) ![]() ![]() ![]() April 2021 | Rob Cowan | GRAMOPHONE (pg. 89) | BOX-SET Round-up « Rob Cowan revisits the recordings of a quartet of less prominent masters from the past -- [...] Another musically potent brother/sister celebration finds the great violinist/teacher Jenő Hubay's last pupil Gabriella Lengyel playing alongside her pianist brother Atty in repertoire that includes numerous rare but involving Hungarian pieces, as well as works by Schumann (the first two sonatas), Ravel (the Sonata, where the 'Blues' threatens as menacingly as the Left Hand Concerto's goose-stepping central episode does), Poulenc, Lennox Berkeley (Sonatina) and Britten (Suite, Op.6). Also included, an enrapturing account of Bartók's Second Sonata and a series of Bartók violin duos (with Anne-Marie Gründer) that vies with, if not tops, the best from elsewhere. Most significant perhaps is the Brahms Concerto under Ernest Ansermet, an inward-looking performance where you can check Lengyel's approach against her own detailed annotations based on Hubay's teachings. Lengyel's sound is mellow and veiled, her manner of phrasing linear, resembling in at least that one respect the French-born violinist Jean Ter-Merguerian, a player of Armenian ancestry noted for his seamless bowing, and whose tonal properties include a fast vibrato and a sound that's far leaner than Lengyel's, certainly in the featured Brahms Concerto recorded at his American debut (Boston, 1975) under Arthur Fiedler. Highlights here are a sizzling account of Khachaturian Concerto under Michael Maluntsian and various collaborations with the pianist Pierre Barbizet, including a bright and keenly driven Beethoven Triple Concerto (with a superb cellist, Yvan Chiffoleau) and Sonatas 1, 7, and 9, where Barbizet's playing, although not note-perfect, is so much freer and seemingly 'off the cuff' than it is on his earlier recordings with Christian Ferras, the First Sonata including its first-movement repeat (which it doesn't on either of the Ferras/Warner Classics versions). Also, Sarasate's Caprice Basque (wonderful!), and, of especial beauty, Mozart's Sonata K.378, while the set also includes the 1990 Sonata by composer-pianist Gérard Gasparian (dedicated to Ter-Merguerian) and music by Komitas. Both Lengyel and Ter-Merguerian were highly accomplished players whose artistry should be enjoyed by the widest public, so hats off to Rhine Classics for affording us the opportunity of hearing them. » |
#13/2021 (UK)
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#11/2021 (UK)
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#10/2021 (UK) ![]() ![]() ![]() March 2021 | Rob Cowan | GRAMOPHONE (pg. 88) | REPLAY Some Legendary Pianists « Rob Cowan's monthly survey of historic reissues and archive recordings -- [...] referenced by Sergio Fiorentino in a revealing interview included on Rhine Classics' impressive "Live in USA 1996-97-98", where this belatedly discovered great (though modest) pianist offers dazzlingly direct accounts of such major works as Schumann's Fantasie, Op.17 (various versions are included), Beethoven's Op.110 and Rachmaninov's Second Sonata. There are copious Chopin selections, Brahms' Op.39 Waltzes and quintets by Franck and Beethoven (with excellent young players) recorded at the Newport Festival. Fiorentino's signature qualities of brilliance, clarity, fluency, attention to inner voices, thunderous climaxes and frequent delicacy inform virtually everything he plays, as well as his ability to either retreat or come to the fore as necessary in chamber music, while the stereo sound quality is in general first-rate. |
#9/2021 (UK)
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#8/2021 (FR)
![]() Voici un album englobant plus de six heures de prestations intéressantes voire envoûtantes, offrant un bel aperçu de la carrière d’un artiste qui échappait aux clichés et qui ne recherchait pas la notoriété. Avec un excellent travail de restauration dû à Emilio Pessina, cette parution s’impose comme un must have pour les amoureux du violon. » |
#7/2021 (UK)
![]() I mentioned the booklet earlier and it’s been splendidly compiled with some very beautifully reproduced photographs of the violinist, concert posters and a reproduction of a colour drawing of her by Willy Hug, which was donated to Richard Flury. There is a brief chronology of her life and very full track details and dates. In every way the documentation and transfers are worthy of this eminent but too-little known violinist. » |
#6/2021 (UK)
![]() Book I was recorded by RAI, Rome over three successive days in January 1961, in good mono sound. RAI’s original master tapes are lost and it was fortunate that the pianist retained his own set in his archive and it’s these that Rhine has used for its remastering. You will search in vain for signs of quixotic caprice in Scarpini’s performance. There is instead a tremendous sense of concentration and clarity, the music propelled where appropriate by animated left-hand voicings that ensure buoyancy but never overbalance the music making. [...] He is lively and robust but it’s always controlled. He uses the pedal with discretion but always with purpose and ensures that in the Fugue of No.21 the music swells with due amplitude. The concluding Fugue, the complex B minor, is given time to weave its spell. [...] He turned to the second book in the mid-70s, this time in his home studio. Whilst the majority of Book II is in mono, seven Preludes and Fugues are in stereo. His ability to phrase with unselfconscious naturalness and to balance the demands of both hands is here undimmed. The playing is again refined without becoming academic, rhythmically alive without becoming aggressive. [...] The following year, at his home studio but this time in St Moritz, he recorded himself performing The Art of Fugue ending precisely where Bach stopped. Scarpini was not quite 65 when he set down, in the course of one day, the whole work. That his technique was so formidable can’t be doubted and there are, throughout the six and a half hours of this set, very few smudges or imperfections and such as exist are largely immaterial. So it is in The Art of Fugue. Scarpini’s touch is refined, his imagination alert, his intellectual equipment attuned to the complex tapestries to be conveyed. It is a measure of his success that one listens in one uninterrupted span to his imaginative but stoically focused playing. » |
#5/2021 (UK)
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#4/2021 (FR)
![]() ![]() 28 January 2021 | Jean-Michel Molkhou | DIAPASON No.697 | Jean Ter-Merguerian - Violon «[...] Admiré - notamment pour sa technique d'archet - par Szeryng, Francescatti ou Rostropovich, il ne laisse aucune discographie officielle. C'est dire si ce coffret, doté d'une notice très documentée et réunissant des enregistrements de concert et de radio inédits, sort de l'oubli un violoniste de grand talent. Il s'ouvre par une interpétation fort inspirée du concerto de Brahms, captée en public à Boston en 1975 sous la baguette d'Arthur Fiedler, dans laquelle la maestria de Ter-Merguerian impressionne. [...] deux démonstrations de son art en solo, dans une magistrale vision de la Chaconne (Bach), toute empreinte d'humanité, et dans la Sonate n°3 d'Ysaye. [...] Ainsi sa vision, aussi incandescente que poignante, du concerto de Khachaturian en 1964, et plusieurs miniatures de Prokofiev, Sarasate, ou Komitas attestent déja une forte personnalité autant qu'une virtuosité étincelante. [...] A découvrir sans hésitation. » ![]() ![]() " [...] Admired - notably for his bow technique - by Szeryng, Francescatti or Rostropovich, he leaves no official discography. This shows that this box set, with its very well-documented instructions and bringing together unpublished concert and radio recordings, brings a very talented violinist from oblivion. It opens with an interpretation strongly inspired by Brahms' concerto, recorded in public in Boston in 1975 under the baton of Arthur Fiedler, in which the mastery of Ter-Merguerian impresses. [...] two demonstrations of his art solo, in a masterful vision of Chaconne (Bach), all imprint of humanity, and in Sonata nr.3 by Ysaye. [...] Thus his vision, as incandescent as poignant, of the Khachaturian concerto in 1964, and several miniatures of Prokofiev, Sarasate, or Komitas already attest a strong personality as much as a sparkling virtuosity. [...] To discover without hesitation. "
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#2/2021 (CA)![]() ![]() Pietro Scarpini is featured in a 6-CD set of Bach’s Well-Tempered Clavier and Die Kunst de Fuge, salvaged from tapes of both radio broadcasts and home sessions recorded for the pianist’s own documentation. The playing is less consistent than we hear in previous releases of Scarpini’s broadcast performances on this label (some ear- and eye-opening performances that I adore), and he can go from rather mundane phrasing to utterly sublime nuancing from one second to the next. He tends to eschew the pedal and employs some expansive ritardandi that are definitely arresting and insightful, and his overall approach reminds me of Alexander Borowsky’s account: earthy, almost rustic in its directness (he doesn’t emphasize burnished tonal colours), with a less-than-ideal instrument that almost sounds historical – a fascinating take that will be of particular interest to Scarpini fans and those exploring unconventional takes of these magnum opera. » |
#1/2021 (FR)![]() ![]() stellaire !. »
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" [...] That such a musician did not arouse the interest of phonographic publishers remains a mystery, especially as violinists of this quality were not numerous in the early sixties. The refined beauty of his sonority, the breadth of his phrasing, the high spirituality he brings to his Beethoven Sonatas (listen to the Marseille concert with Pierre Barbizet) or the subtle imagination with which he adorns Brahms' First Sonata (his imponderable pizzicatos in the central section of the Vivace) make one regret that we cannot have the entirety of his repertoire, but at least the box set offers two concertos that show his genius: in Boston, for Arthur Fiedler, a Brahms including the Finale wins the audience of admiration, and absolute pearl that allows to place it at the same level as its master David Oistrakh, in 1963 in Yerevan, the Khachaturian Concerto, whose Finale reaches all of the electric perfection and the feeling of daydreaming , which only Julian Sitkovetsky put in before him. Hear that stellar bow !. "
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#14/2020 (FR)![]() ![]() |
#13/2020 (FR)
![]() Ter-Merguerian, mort en 2015 à près de 80 ans était un violoniste français né en 1935 à Marseille, d’origine arménienne. Il a fait toutes études musicales initiales à Marseille avant de partir avec sa famille en 1947 en Arménie. En 1956 il est primé à Prague, puis au Concours Tchaikovski et devient l’élève de David Oistrakh à Moscou avec lequel il continuera de travailler jusqu’en 1963. Il remporte le Long-Thibaud en 1961, est lauréat en 1963 du Concours Reine Elisabeth. Dès lors il effectue de nombreuses tournées mondiales, mais décide en 1981 de revenir en France et dans sa ville natale, où il devient à son tour professeur au Conservatoire de Marseille, alors dirigé par Pierre Barbizet. Rostropovitch déclara un jour : “Ter Merguerian est la plus belle technique d’archet du monde, tous instruments à cordes confondus !”. Il n’y avait pratiquement rien de disponible à ce jour au disque de Jean Ter-Merguerian : c’est dire à quel point ce coffret de 5 CD est le bienvenu. On y trouve (entre autres) un concerto de Brahms vraiment magnifique avec Boston et Arthur Fiedler ; un beau récital avec la pianiste Monique Oberdoerffer (Brahms, Bach, Mozart, Saint-Saëns), des sonates de Beethoven avec Pierre Barbizet et le Triple concerto avec Chiffoleau ; un mouvement du concerto de Beethoven lors du Long-Thibaud, avec le discours de Henryk Szeryng, Président du jury ; une interprétation superlative du concerto de Katchaturian captée en Arménie en 1964… Vous découvrirez un violoniste du plus haut niveau, impressionnant, qui, c’est absolument évident, n’a pas eu la carrière qu’il aurait pu avoir. Attention : le coffret n’est pas disponible en musique numérique (lui non plus!). On peut l’acheter sur le site de l’éditeur.» |
#12/2020 (UK)
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#10/2020 (DE) BEST OF 2020 | Neue Musikzeitung | December 2020 - January 2021 | nmz 12/20 - 1/21 (page 14) | Christoph Schlüren | « Und unbedingt muss das wagemutige Unternehmen des italienischen Tonmeisters und Violinpapsts Emilio Pessina genannt werden, der seine Anthologien bei Rhine Classics in Taiwan herausgibt. Da sind ganz neu umfassende Schatzkisten erschienen von Gabriella Lengyel, der letzten Schülerin Hubays, überwiegend mit ihrem Bruder, dem vorzüglichen Pianisten Atty Lengyel, von wunderbarem Schubert und Mendelssohn zu Entlegenem vor allem ungarischer Meister wie Harsányi, Veress oder Arma; fast nur Live-Aufnahmen von Jean Ter-Merguerian, in den Augen von Kollegen wie Rostropowitsch, Szeryng, Francescatti und Ferras einer der großartigsten Geiger überhaupt (einen schöneren, edleren Ton gibt es nicht!), ganz groß in Beethoven, Brahms und Khachaturian; späte Konzertmitschnitte (1996–98) des Meisterpianisten Sergio Fiorentino aus den USA, darunter auch hinreißend musizierte Kammermusik wie Francks Quintett oder Beethovens Quintett mit Bläsern; und vom legendären Pietro Scarpini zu Hause gemachte Aufnahmen des kompletten Wohltemperierten Klaviers und der Kunst der Fuge in kristalliner Klarheit (alles bei Rhine Classics, erstaunlich preiswert direkt von der Website zu beziehen). »
COURAGEOUS ENTERPRISES « Also worth mentioning is the daring venture of Italian sound engineer and "Violin-expert" Emilio Pessina, who publishes anthologies under the Rhine Classics label in Taiwan. There are quite new and complete treasures played by Gabriella Lengyel, Hubay's last pupil, mostly with her brother, the excellent pianist Atty Lengyel, in wonderful Schubert and Mendelssohn, and especially Hungarian masters like Harsanyi, Veress or Arma; almost exclusively live recordings by Jean Ter-Merguerian, who was, in the eyes of colleagues like Rostropovich, Szeryng, Francescatti and Ferras, one of the greatest violinists of all time (there is no finer, nobler sound !), superb in Beethoven, Brahms and Katchaturian; late American concerts recordings (1996-1998) by the Italian master pianist Sergio Fiorentino including lovely chamber music such as Franck's Quintet or Beethoven's Quintet for Piano and Winds; and recordings of the complete Bach's "Well-Tempered Clavier" and "The Art of Fugue" in crystal clear clarity made by the legendary Pietro Scarpini, made in his home studio (all available from Rhine Classics, and surprisingly inexpensive, directly from their website). » |
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#4/2020 (DE) ![]() March-May 2020 | Christoph Schlüren | CRESCENDO (pg. 36) | BELCANTO ON THE VIOLIN «Emilio Pessina is working with the Taiwan-based Rhine Classics label to extend the protection period for sound recordings in the European Union. -- With massive lobbying, the market leaders in the field of sound recordings succeeded in extending the protection period for sound recordings from 50 to 70 years in 2011 with a decision by the European Parliament, which waved this new regulation into ruin and thus drove many smaller labels and willfully withheld recordings from the listener, that should have been public domain for a long time. What can you do to avoid this EU terror? Emilio Pessina from Veneto is one of the best connoisseurs of historical recordings worldwide, and he decided to leave the mastered or remastered recordings to the Taiwan-based Rhine Classics label, which now provides listeners worldwide with direct sales with the treasures that come from are not allowed to drive us away. And after a few years, the Rhine Classics catalog is one of the most attractive on the historic market. So I arranged some of these Taiwanese CD boxes. The mail takes one to two weeks, the prices including shipping are lower than they would be through a distribution in this country (www.rhineclassics.com). The look is appealing, the workmanship stable, the sound quality excellent, the booklet texts contain the essential information and sometimes more. And the musical discoveries are sensational, both in terms of repertoire and the class of performances. |
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#43/2019 (CAN)
![]() ![]() The label continues its tribute to the obscure and rather mysterious pianist Pietro Scarpini with a stellar release of 12 CDs of ‘Discovered Tapes’ featuring works ‘from Baroque to Contemporary,’ both solo and with orchestra. Their previous releases of this unique pianist were exemplary as well – the Busoni Concerto is a real favourite – and this set includes a stupendous Prokofiev Second Concerto with the great Mitropoulos in better sound than any previous release, as well as dozens of never-before-released recordings. His solo Prokofiev is equally captivating, as is his Bartok Third Concerto and so much else. His fusion of intellectual and robustness makes for captivating listening. That legendary New York Prokofiev Second Concerto – on Youtube, from a different source tape (not as good as what is available in this set) – gives a taste of the magical pianism in the Scarpini release. » |
#42/2019 (FR)
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#41/2019 (UK)
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#39/2019 (UK)![]() ![]()
The whole package smacks quality, from the sturdy box to the beautifully produced booklet. Track detail listings and a useful biographical portrait are desirable elements. Violin mavens will be equally drawn to the photos of Gulli with notable colleagues - Oistrakh, Kogan, Szigeti and Stern. Equally attractive are the individual photos of the violinist which adorn all eleven CD sleeves. Sound quality is variable throughout, but this comes as no surprise taking into account the provenance of the recordings. Overall you’ll be more than satisfied. The original master tapes offer warmth and intimacy.
All told, this highly desirable collection offers an amalgam of engrossing repertoire, refined musicianship and passionate commitment.» |
#38/2019 (FR)![]() ![]() ![]() Franco Gulli - Rediscovered. Rhine Classics RH-005 (11CD), 1957-1999, CHOC◗
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#11/2019 (UK)![]() ![]() March 2019 | Rob Cowan | GRAMOPHONE (pg. 98-99) | Rhine gold: an archive treasure trove «Rob Cowan welcomes a historic label that has unearted some remarkable treasures. -- [...] Aldo Ferraresi has a pleasingly seductive sound, its expressive manner an approximate cross between Merckel and Enescu [...] revelatory in the violin concertos by Elgar and Walton. [...] Any conoisseur of the instrument simply has to hear Aldo Ferraresi, and I cannot recommend this set highly enough. | Wanda Luzzato playing most reminded me, in its intellectual rigour and seductive warmth, of Adolf Busch [...] persuasive playing in a unique context. Magical is the word. | Then there is Alfonso Mosesti, the gifted Concertmaster of RAI orchestras, [...] a fine soloist too, another violinist that reminds me of Busch. | Piano-wise Rhine Classics has given us a stimulating six-CD set of Pietro Scarpini playing Busoni and Liszt [...] all played with intelligence and the odd tell-tale flashback to old-world performing gestures. | A double-pack of Scarpini playing Mozart [...] in its finely crafted classicism reminded me of Robert Casadesus. | And lastly Sergio Fiorentino 'Live in Taiwan 1998', grandeur personified [...] raises a storm with the Second Sonatas of Scriabin and Rachmaninov. | So here's to the next Rhine Classics releases, including more Fiorentino and a big box of recordings by the violinist Franco Gulli. I'll be filling you in as soon as they arrive.» |
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#3/2018 (USA)![]() ![]() «Taken from the private collection of Italian master-pianist Sergio Fiorentino, this restored recital from Taiwan’s Novel Hall captures the artist at the peak of his form in splendid sound, courtesy of Emilio Pessina. The resonance of Fiorentino’s Steinway proves stunning, especially profound in the Scriabin Sonata, whose liquid appeal to the senses mesmerizes and dazzles in its erotic figurations. But to single out any of the individual works provides an immediate disproportion to the holistic nature of the recital, whose emotional canvas vibrates on an equal plane with the intellectual, aesthetic and dramatic context that unfolds only months before Fiorentino’s untimely death. [...] After the torrent concludes, we know definitely why Michelangeli referred to Fiorentino as “the only other pianist.”» |
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#1/2018 (USA)
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7 March 2018 | THE VIOLIN CHANNEL | GIVEAWAY Win 1 of 5 - To help celebrate the international release, The Violin Channel is this week giving away 5 copies of ‘Jascha Heifetz: The Legendary Los Angeles Concerts’ double CD sets – courtesy of Rhine Classics.
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#15/2017 (FR)![]() « Dear all, regarding the future releases I would like that the recordings of the concerts given by Jascha Heifetz in the framework of the Bell Telephone Hour will be restored in high definitition, in particular the virtuosity pieces. Besides Mr Heifetz has interpreted in his youth some famous masterpieces but I do not know if these interpretations have been recorded. For example "The Palpiti", "Nel cor più non mi sento" of Paganini or the "Variations on an original theme" of Wieniawski. I would like if such records exist and are available they will be restored by Mr. Pessina. Thanks. Best regards. » J.-J. Leandri |
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