With Steven Osborne as soloist, the concertante works are in exceptionally good hands...After the Capriccio's grandiose opening, Osborne's tight control of the piano's insistent, driving textures provides a firm foundation for the opening movement's unexpected humanity and charm.� --BBC Music Magazine, July 2013 ****
�Osborne and Volkov tick a major Stravinsky box� --Gramophone Magazine, August 2013
�Osborne and Volkov tick a major Stravinsky box� --Gramophone Magazine, August 2013
�Osborne plays all with diamantine brilliance.� Sunday Times, 19th May 2013
�Osborne manifests both his rhythmic �lan and his refined sense of tonal shading, underpinning the performances with virile energy...finding a spirited sparring-partner in the BBC Scottish Symphony under Ilan Volkov.� The Telegraph, 29th May 2013
�though they do not manage to make either [concerto] more likable, Osborne and Volkov judge them perfectly � keeping the Concerto, as well as the slightly later Capriccio, on a tight rein, and threading a lucid path through the thickets and intricacies of the Movements.� The Guardian, 30th May 2013 ****
�The outstanding work here is the Concerto for piano and wind instruments (1923-24), played by Osborne in a way that finds wit in the rhythmic quirks while lending substance to the music�s 18th-century references, so that it never sounds dry.� Financial Times, 8th June 2013 ***
�Osborne manifests both his rhythmic �lan and his refined sense of tonal shading, underpinning the performances with virile energy...finding a spirited sparring-partner in the BBC Scottish Symphony under Ilan Volkov.� The Telegraph, 29th May 2013
�though they do not manage to make either [concerto] more likable, Osborne and Volkov judge them perfectly � keeping the Concerto, as well as the slightly later Capriccio, on a tight rein, and threading a lucid path through the thickets and intricacies of the Movements.� The Guardian, 30th May 2013 ****
�The outstanding work here is the Concerto for piano and wind instruments (1923-24), played by Osborne in a way that finds wit in the rhythmic quirks while lending substance to the music�s 18th-century references, so that it never sounds dry.� Financial Times, 8th June 2013 ***
Tidak ada komentar:
Posting Komentar