{"product_id":"v18-katsaris-archives","title":"V18: KATSARIS ARCHIVES","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eGRIEG \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003ePiano Concerto in a\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003ePeer Gynt: \u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eMorning Mood. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eImpressions: \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eHommage à Chopin. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eLyric Pieces: \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eSelections \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Cyprien Katsaris (pn); \u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eHorst Neumann, cond; Leipzig RO \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e PIANO21 028-A (75:03) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eGrieg’s piano music (other than his concerto, which has been a staple of the repertoire for years—it was Rachmaninoff’s favorite concerto!) has for too long languished in obscurity. Though the current recital does not touch upon the least-known works of his \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eoeuvre\u003c\/span\u003e \u003cspan\u003e, it does show off some of the best of it in the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLyric Pieces\u003c\/span\u003e \u003cspan\u003e. These works are, in a sense, the Norwegian counterparts to the character pieces of Schumann and the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSongs Without Words\u003c\/span\u003e \u003cspan\u003e of Mendelssohn; and just like these latter works, the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLyric Pieces \u003c\/span\u003e \u003cspan\u003ehave never garnered the attention that they deserve. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThey have found a good advocate in Cyprien Katsaris, who has long been a champion of this kind of little-played repertoire. As most of the performances on the current disc were recorded live, the sound is sometimes fine, sometimes abominable. This, however, does not distract from the simple way that Katsaris caresses the instrument, subtly capturing the mood of each of these tiny gems—from the quirkiness of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLittle Bird\u003c\/span\u003e \u003cspan\u003e, op. 43\/4, to the frantic climaxes of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMarch of the Dwarfs\u003c\/span\u003e \u003cspan\u003e, op. 54\/3. His way with the simple \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eArietta\u003c\/span\u003e \u003cspan\u003e, op. 12\/1, is a bit too fussy for my taste; I much prefer the way Emil Gilels lets the piece shape itself without getting in its way. Regardless, one can hear Katsaris having fun, bringing out the character of each little masterpiece, which consequently allows us to simply revel in the music. This is perhaps the most difficult aspect of playing these pieces, and Katsaris succeeds on multiple levels. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eHis way with the concerto, unfortunately, is less successful because of the way in which he seems to want the piece to be something that it is not. The dramatic opening sounds a bit too rushed, taking away some of its inherent drama, while the following low A is slammed out and held as though the climax has already been reached. There are nice moments throughout, but there is also a bit too much stop-and-go motion—something that works well, perhaps, in concert, but not in repeated listening on recordings. The other two small pieces, the “Morning Mood” from \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ePeer Gynt\u003c\/span\u003e \u003cspan\u003e and the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eHommage à Chopin\u003c\/span\u003e \u003cspan\u003e, are both given fine readings, the former for its simplicity and pathos, the latter for its breathtaking virtuosity. For the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLyric Pieces\u003c\/span\u003e \u003cspan\u003e my top recommendation is still for one of the most impressive discs that Emil Gilels, or any pianist, ever recorded (DG Originals 449721). For the Piano Concerto, one of the most exciting performances—also recorded live—is Michelangeli’s recording with the New Philharmonia Orchestra under Rafael Frühbeck de Burgos (BBC Legends 4043). For another recommendable performance of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLyric Pieces\u003c\/span\u003e \u003cspan\u003e, Katsaris’s recording will complement these performances nicely. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Scott Noriega \u003c\/span\u003e\u003cbr\u003e","brand":"Piano 21","offers":[{"title":"CD","offer_id":49655300620568,"sku":"3760051450359","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1568166.jpg?v=1777612499","url":"https:\/\/hbdirect.com\/products\/v18-katsaris-archives","provider":"HBDirect","version":"1.0","type":"link"}