The Irish Times - Friday - The Ticket - - MUSIC - MICHAEL DER­VAN MICHAEL DER­VAN

Louis Lor­tie (piano)

Chan­dos CHAN 10813 Hush! Louis Lor­tie is play­ing Chopin noc­turnes. His ap­proach is con­tem­pla­tive, con­vey­ing the im­pres­sion that he would prob­a­bly like even more time to dwell in de­tails that he loves. Lor­tie’s play­ing of a Fazi­oli con­cert grand is gor­geously smooth and rich, and prob­a­bly en­cour­ages the temp­ta­tion to linger. How­ever, the ap­peal of this highly sen­sual ap­proach di­min­ishes the more you hear of it. Lor­tie does have a high gear, nec­es­sary not only in the noc­turnes but in the four Im­promp­tus on this disc and the Sonata in B mi­nor. The dwell-inthe-mo­ment ap­proach is most lim­it­ing in the sonata, where the sur­face surge is some­times con­tra­dicted by an in­ner still­ness. But it does all sound es­pe­cially lovely.

TI­GRAN MANSURIAN: QUASI PAR­LANDO Am­s­ter­dam Sin­foni­etta/ Can­dida Thomp­son

Se­ries 481 0667 This is a sym­met­ri­cally planned disc. At its heart are the 2011 Ro­mance for vi­o­lin (Pa­tri­cia Kopatchin­skaja) and strings and 2012 Quasi par­lando for cello (Anja Lech­ner) and strings, played by the mu­si­cians to whom they are ded­i­cated. They are full of echoes, of re­li­gious chant, Ar­me­nian folk mu­sic, all blended into a free-flow­ing, of­ten long­step­ping melodic style. They are framed by the Dou­ble Con­certo of 1978 and the Sec­ond Vi­o­lin Con­certo of 2006, subti­tled Four Se­ri­ous Songs, the ref­er­ence be­ing to the late bi­b­li­cal set­tings of Brahms. The style in the two works ranges from a kind of pri­mal in­ten­sity to the most pri­vate of in­ter­ces­sions. The soloists and the Am­s­ter­dam Sin­foni­etta un­der Can­dida Thomp­son han­dle ev­ery­thing as to the man­ner born.


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