Classical Music Buzz > My Classical Notes
My Classical Notes
A Musician's List of Events & Artist Reviews
2797 Entries

Here is a concert that you are sure to enjoy:


Sunday, 18 Feb 2018 at 14:30


St George’s Hall, Liverpool, Liverpool


Khatia Buniatishvili, piano


Brahms: Piano Sonata no. 3 in F minor, Op.5

Liszt: Rhapsodie Espagnole, S 254

Tchaikovsky: The Nutcracker Suite, Op.71a

Stravinsky: The Firebird: Three movements (Arranged by Agosti)

3 days ago |
| Read Full Story

When I watch and listen to an artist perform am amazing composition, there are times when I am totally thrilled. What does it take? Preparation, confidence, execution, and visible enjoyment by the performer.

So it was earlier today when I watched violinist Hilary Hahn play the Concerto for Violin and Orchestra by Ludwig van Beethoven with the Detroit Symphony. She worked on this. Usic when she was a student at Curtis. And today, her sound progresed and emerged as an experienced professional that she is.

Ms. Hahn is 38 years old, she is married, and the mother of a young baby girl named Zelda.

Yes, she is a terrific musician. And still it was a tribute to the excellence of the performance that the audience interrupted the music at the end of the first movement Cadenza to let Ms. Hahn know how much we all appreciated her interpretation.

Here is the video from this terrific performance:

3 days ago |
| Read Full Story

This recording is a three-disc set of the four Brahms symphonies, recorded live during concert performances at Boston’s Symphony Hall this past November.

This new Brahms symphony cycle follows two others recorded previously by the BSO, under Erich Leinsdorf in the mid-1960s and by Bernard Haitink in the early 1990s.

“It makes me so proud and happy,” observes Andris Nelsons, “that the Boston Symphony Orchestra of today, filled with so many great musicians, will now have its own place in recorded history with this amazing music.”

Here is Andris Nelsons, conducting the Brahms Symphony number 1, with the Tanglewood Orchestra:

4 days ago |
| Read Full Story

This recording features fairy tales by Robert Schumann and Jörg Widmann, as performed by Jörg Widmann (clarinet), Tabea Zimmermann (viola) and Dénes Várjon (piano)

Robert Schumann found inspiration in the power of fantasy. This program includes his depictions of classic fairy tales in Märchenbilder, the Fantasy Pieces Op. 73, and Märchenerzählungen, as well as a contemporary take on the subject by Jörg Widmann, included in this album as a world premiere recording. The clarinetist and composer is joined by Tabea Zimmermann and Dénes Várjon.

Tabea Zimmermann, Jörg Widmann and Dénes Várjon have known each other for a long time. Since their debut as a trio ensemble in May 2011 at Vienna‘s Konzerthaus, they enjoy playing together on a regular basis. Being highly sought-after soloists who play with the world‘s most reknowned orchestras and conductors, all three share a passion for chamber music, whether as a permanent trio or with other musical partners.

Here is the amazing Tabea Zimmermann playing the Schumann Maerchenbilder:

5 days ago |
| Read Full Story

Some years ago, I was the host of a Sunday morning radio show in Carmel, California. It was great for me, because the management allowed me to pick and play my own selections. In addition, losteners could call the station, make comments about the recording that I played, express their preferences of alternate interpretations, or criticize my pronouncement of composers names.

The “Theme music” for my show was the Intermezzo Opus 117 number 2 by Johannes Brahms. Here is pianist Grigory Sokolov, performing all three of these wonderful Intermezzi by Johannes Brahms:

7 days ago |
| Read Full Story

I always enjoy sharing with you my experiences of listening to young artists who are new to me. This brings me fresh hope that music which is 200 yeard old might well survive longer, in the hands of passionate artists of today.

Yeol Eum Son is a South Korean classical pianist. She first drew international attention when she appeared as a soloist with the New York Philharmonic Orchestra under the baton of Lorin Maazel in 2004. Her awards include the Silver Medal at the International Tchaikovsky Competition 2011, in which she also received the Best Chamber Concerto Performances and the Best Performance of the Commissioned Work.

I heard her perform the Mozart Piano Concerto number 21, and I experienced her as a passionate and expressive artist.

Here is Yeol Eum Sol as piano soloist in the Concerto number 21 by Mozart:

9 days ago |
| Read Full Story

In this recording, the Metropolitan Opera presents Strauss’ Der Rosenkavalier, featuring a star-studded cast including Renée Fleming and Elina Garanca.

This is Renée Fleming’s last ever performance of the Marschallin, one of her signature roles, as performed at the Metropolitan Opera following a run at London’s Royal Opera House earlier this year.

This new and notable production sees Robert Carsen update the setting to Vienna in 1911, the year of the opera’s premiere.

“The dramatic chemistry between Ms. Fleming and Ms. Garanca came through in their every exchange” wrote the New York Times.

The New Yorker wrote:

“[Renée Fleming] sings the arching melodic line that begins Strauss’s transcendent trio with seamless phrasing and ethereal sound, her more mature voice blending poignantly with the youthful colorings of Ms. Morley and Ms. Garanca.”

Here is a brief moment from Rosenkavalier:

12 days ago |
| Read Full Story

Why yet another Messiah?

You should remember that when Handel arrived somewhere to perform his oratorio, he had soloists of varying standards available to him. So he would revise his score accordingly… All this is directly related to the reality of Handel’s situation as a concert promoter.

In those days, to earn a living from his music, a composer absolutely had to get his works performed and make a profit on the evening. The idea of not retouching a work to avoid “spoiling” or “distorting” it is a much more modern one. There must be around a dozen versions of Messiah.

The 1754 version on this recording is rarely played because it calls for five soloists: two sopranos, alto, tenor and bass… I’ve opted here for an operatic interpretation, taking its cue from the drama inherent in this account of the life of Christ.

Here is a section of this music:

12 days ago |
| Read Full Story

For several years now I have enjoyed the singing of soprano Christiane Karg.

Bavarian soprano Christiane Karg made her London Wigmore Hall debut in 2012 with a beautiful song recital which also became her first release on Wigmore Hall Live.

As a regular guest at the world’s leading opera houses, singing roles from Musetta (La bohème) to Amor (Orfeo ed Euridice), she is also revered for her enchanting performances on the concert platform alongside conductors such as Nikolaus Harnoncourt and Yannick Nézet-Séguin.

In this recording, Christiane Karg is joined by Malcolm Martineau who is celebrated as one of his generations greatest accompanists.

This recital explores the unique relationship between the Schumann’s and Johannes Brahms. After Robert Schumann’s death Brahms’ passion for Clara grew but it was reciprocated only with a protective motherly care. They remained close friends but Brahms never truly recovered.

This program presents love in many different guises from the stirring ‘Widmung’, to the heartfelt ‘Liebst du um Schönheit’ and the love-drunk passion of ‘Meine Liebe ist grün’.

Here is music by Robert Schumann, with Christiane Karg:

14 days ago |
| Read Full Story

Composed almost 20 years apart, the two violin concertos by Dmitri Shostakovich were both conceived with the great Russian violinist David Oistrakh in mind and dedicated to him.

Shostakovich completed Concerto No. 1 in 1948, at a time when he had fallen out of grace with the Soviet authorities and it seemed uncertain if the work would ever be performed in public. This is reflected in the concerto which begins with a dark and solitary violin song over gloomy cellos and double basses. Throughout the work there are allusions to the composer’s situation, and in the second movement is there is a theme reminiscent of Jewish popular music, as a symbol of Shostakovich’s identification with the suppressed Jewish culture.

In 1967 Shostakovich wrote to David Oistrakh, telling him about the completion of his Violin Concerto No. 2.

Performing these two great works is one of the finest violinists of our own time, Frank Peter Zimmermann. The recordings were made at public concerts at the Hamburg Laeiszhalle, with the eminent support of the NDR Elbphilharmonie Orchester conducted by Alan Gilbert, the orchestra’s principal guest conductor for more than a decade.

Here is violinist Frank Zimmermann, perfprming the concerto number 2 by Shostakovich:

14 days ago |
| Read Full Story
1 - 10  | 123456789 next