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HMC902191 브람스 : 피아노 협주곡 1번, 발라드 OP10
연주: 폴 루이스(피아노), 스웨덴 라디오 심포니 오케스트라, 다니엘 하딩(지휘)
피아노의 거장 알프레드 브렌델의 애제자이자 빼어난 슈베르트 스페셜리스트로 인정 받은 폴 루이스는 이어 베토벤 피아노 소나타 전곡, 협주곡 레코딩으로 극찬을 받았다. 젊은 청년 브람스는 정신적 멘토인 슈만 자살에 대한 슬픔과 클라라의 연정이 담긴 2 대의 피아노를 위한 소나타를 작곡했다. 이것을 모티브로 피아노 협주곡을 완성 1859년 하노버 궁정극장에서 자신의 연주로 초연하였다. 이 곡은 브람스 특유의 교향악적 협주곡의 출발이 되었으며 뛰어난 기교의 피아니스트는 오케스트라와 대등한 관계를 이룬다.
루이스는 젊은 브람스의 사색적 슬픔과 그리움의 서정이 넘치는 걸작을 투명감 있는 피아노의 음색으로 그려내고 있다. 절묘하고 섬세한 하딩의 지휘는 피아노를 돋보이게 하며, 아름다운 목관 사운드의 매력을 들려준다.
the Guardian (7th April 2016)
“His account has clarity, muscle and steely pride, but also intimacy, vulnerability and volatility: the combination is magnetic. Conductor Daniel Harding goes for full-out symphonic bulk from the start and his Swedish orchestra sounds hearty and brooding ? fuzzier-edged than Lewis’s metallic attack, but generally the partnership works.”
Financial Times
(8th April 2016)
“His playing in Brahms’s Piano Concerto No. 1 disdains romantic heroics in favour of poise and proportion, fine judgment and the purest of trills. The risk is that he sounds aloof from the mighty battles being waged in the orchestral part, performed with romantic sweep and a lot of darkly portentous bass lines by the Swedish Radio Symphony Orchestra conducted by Daniel Harding.”
The Sunday Times
(10th April 2016)
“Lewis’s richly evocative account of the early Ballades shows that, at 21, Brahms was already himself. So he was (despite its protracted birth pangs) in the marvellous concerto. Lewis is equal to its challenges ... the captivating F major passage, after the fugato, is a delight, and the Swedish woodwind play expressively for Harding.”
The Daily Telegraph
(16th April 2016)
“Lewis shows himself thoroughly prepared for the power, the emotional turmoil and the radical vision that Brahms unleashed in his First Concerto … Lewis too enjoys a productive partnership with the Swedish Radio Symphony Orchestra, conducted with passion and intensity by Daniel Harding.”
CD Review
(16th April 2016)
“[a] wonderful combination of the statuesque and finesse, [the] recording encompasses it beautifully.”
The Scotsman
(18th April 2016)
“The sound is big, wholesome, thrilling, even appropriately terrifying...Lewis’ approach is always integral, powerful yet unpretentious. He evokes every nuance of expression contained in this all-embracing concerto...Brahms’ four Ballads, Op. 10, form a beautiful counterbalance, Lewis evoking their essential sensuousness and beauty.”
Presto Classical
- James Longstaffe (15th April 2016)
“Harding has opted for an intensely dramatic reading of this piece, with plenty of Sturm und Drang on offer...the way Lewis gently but assertively glides in, almost as if he has actually been playing all along but it's only now that he has decided to make us aware of his presence, is a great moment, and sets the tone for his entire performance...As in the concerto, the range of colours that Lewis offers us in the Four Ballades is quite something.”