Recent News
12.12.18
Keith Lockhart
KEITH LOCKHART JOINS THE ROSTER
12.07.18
JoAnn Falletta, Mariss Jansons, David Alan Miller, Peter Oundjian, Patrick Summers, Alexandre Tharaud, Magos Herrera & Brooklyn Rider , Mason Bates, Symphonieorchester des Bayerischen Rundfunks, Munich , Academy of St Martin in the Fields , Les Violons du Roy , Anthony Roth Costanzo, Nathan Gunn
2019 Grammy Nominees
Grammy Awards
12.07.18
New York Philharmonic String Quartet , Yefim Bronfman
Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier
12.06.18
Julian Wachner
This Is the Best ‘Messiah’ in New York
The New York Times
12.04.18
Sir Andrew Davis
ELGAR The Music Makers. The Spirit of England (Davis)
Gramophone
12.03.18
Chanticleer
Chanticleer Christmas concert, 11/30/18
Divamensch
12.01.18
Ward Stare
Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune
11.27.18
Richard Kaufman
PHANTOM OF THE OPERA HAUNTS THE SOROYA IN REAL TIME
Broadway World
11.26.18
Twyla Tharp Dance
Dreaming of Dancing With Twyla Tharp
Next Avenue
11.19.18
Twyla Tharp Dance
‘Minimalism and Me’ Review: Twyla Tharp Tells Her Story
Wall Street Journal

News archive »

Refreshing Beethoven; Michael Tanner hails Garrick Ohlsson's Sonata recital

09.11.08
Garrick Ohlsson
BBC Music Magazine

BEETHOVEN: Piano Sonatas, Vol. 5: Op. 13 (Pathétique), Op. 27/2 & Op. 53

Garrick Ohlsson (piano)

Bridge 9250 Reissue (1995) 63:21 mins

This is great playing. Garrick Ohlsson made these recordings 13 years ago, and they were issued on another label, but now take their place as part of his complete cycle of the Sonatas. These accounts of three of Beethoven's most popular works have the same characteristics as the four previous CDs, recorded recently. Ohlsson is careful in his observance of the composer's markings almost to the point of pedantry, though it's only in the brief middle movement of the Moonlight that he tips over into that. Otherwise there is the typical Beethovenian surge, violent contrasts and amazing key-changes, but all bound together by a deep understanding of the underlying unity of each work, which incidentally is helpfully illuminated in the inlay notes.

Ohlsson has used different instruments during the cycle, and the one here, a Bösendorfer, is more clangerous, less velvety than the previous ones. That suits the Pathétique and the Waldstein well, while the Moonlight takes on an unusual quality which is refreshing. Indeed, everything here is refreshing, in works which so often sound stale.