LISZT: Verdi Paraphrases and Transcriptions (Liszt Complete Piano Music, Vol. 25)
(Naxos: 8.557904)
Born in Brazil in 1970, Alexandre Dossin studied at the Moscow Conservatory before moving to the United States. He has numerous contest successes behind him (including First Prize and Special Prize at the 2003 Argerich Competition)…From the opening measures of the Rigoletto Paraphrase, the reasons for his success are obvious: over and above the technical security that has become a given for modern contest-winners, Dossin displays an imaginative and immediately engaging romantic personality, molding articulation, rhythm, and color in a way that gives the music a vivid personal stamp. These are, on the whole, showy performances. I don't mean that they're aggressive in their virtuosity-indeed, you might possibly want more sheer steel in the big sempre ff outburst before the quiet coda of the Aida paraphrase. But Dossin surely indulges his capacity for grace (the opening of the Aida paraphrase, which can easily turn tawdry, here becomes a light-fingered jeu d'esprit), just as he revels in the sheer melodrama of the music. The celestial dolcissimo passage in the middle of the "Miserere," the sweet tranquility at the beginning of the Réminiscences de Boccanegra, the bel canto melodies and filigree throughout - they're all delivered without a hint of self-conscious constraint…Arrau's famous readings are, by comparison, slightly dour…the sound is good; and Keith Anderson provides informative notes. A fine introduction to a talented pianist.
Peter J. Rabinowitz, Fanfare Magazine, Nov/Dec 2007
KABALEVSKY, D.: Piano Sonatas and Sonatinas (Complete) (Dossin)
(Naxos: 8.570822)
CRITICS CHOICE
...Given these performances by Dossin, one could hope for a reevaluation and possibly an awakening in the piano world that this is good piano music, demanding of the pianist and worthy of study and performance. While I've never heard these works programmed, I would go well out of my way to hear Dossin play them. He has the sensitivity and flair for the poetic moments as well as the drive and excitement necessary...In the First Sonata, Dossin convinces me that, despite the similarities with Prokofiev (and to a lesser extent Scriabin) this is a good first effort.
The middle movement especially has a beautiful melodic fabric woven by a master pianist. The Second Sonata is, perhaps, the high-point of Kabalevsky's piano compositions. It is overtly virtuosic, and I hear the ghost of Horowitz in almost every bar. Were it not for the exceptionally good modern sonics, it would be easy for a listener to mistake Dossin for the departed legend. Not to say that this is simply a good pianist copying an old one. Dossin surely has spent some time listening to the older recording, and certainly has been influenced by it, but it is his own interpretation, and quite worthy of comparison. The last sonata is a little bittersweet and easily the best recording I have heard of it. The sonatinas make this a very generous and complete collection. Anyone found of the Russian piano works of the 20th century should listen to this. It will favorably alter any feelings you might have towards Kabalevsky and give you a chance to hear a terrific young pianist.
James Harrington American Record Guide, September/October 2009
HOFFMEISTER, F.A.: Quintets Nos. 1, 2, 4, 5 and 6 (Fuchs, Sax, Hefti, Novsak, Fuchs-Richter, Rouilly)
(Tudor: TUDOR7124)
The program notes refer to this composer as 'one of the best known "'unknowns" of Viennese classical composers. The Hoffmeister name (sometimes spelled with only one 'f') has long been associated with music publisher dynasties in Vienna as well as Leipzig. Many of their assets were later acquired by the newly-established houses of Artaria and Peters. Haydn and Mozart's works in similar vein are more elaborate, yet firmly anchored in the galant style, while Hoffmeister's are more forward-looking.
From a performance perspective, one could not ask for better renditions of this delightful fare.
Giv Cornfield, The New Recordings (cliffsclassics.com), 3 October 2009
BOCCHERINI, L.: Symphony, Op. 43 / Cello Concertos - G. 477, 479 / Divertimento notturno, Op. 41 (Goritzki, Stuttgart Chamber Orchestra)
(CPO: 777113-2)
Time was - not so very long ago - when one spoke of the popular Cello Concerto by Boccherini as the one in B Flat. Now, there are 20 concertos recorded, and some 30 symphonies. In this respect, it brings to mind Vivaldi, who continues to provide more and more treasures from manuscripts that had been gathering dust for centuries.
The novelty in this particular case is the Octet - apparently the only such work by Boccherini - and one that combines winds and strings. This disc is pure delight from start to finish.
Giv Cornfield, The New Recordings (cliffsclassics.com), 3 October 2009
DURANTE, F.: Concertos for Strings / Harpsichord Concerto in B flat major (Concerto Koln, Ehrhardt)
(Phoenix Edition: Phoenix427)
CRITICS CHOICE
Durante is best known as one of the founders of the Neapolitan school of music. Most of his works consist of sacred music, in which breadth, vigour and resourcefulness are more evident than originality of style. Pergolesi and Paisiello are counted among his many students, who dominated the lyric stage during the latter part of the 18th C. The concerti presented here enjoy robust performances by soloist-conductor Werner Ehrhardt, with the harpsichord well balanced in the recording.
Giv Cornfield, The New Recordings (cliffsclassics.com), 3 October 2009
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