Horváth, Sikorskaya — Piano Recital, Zurich, 2016-11-15

Concert review, ETH Zurich / Semper-Aula, 2016-11-15: Piano Recital, Winners of the Rahn Competition 2016 — Benedek Horváth (Schumann: Davidsbündlertänze op.6; Bartók: Piano Sonata, Sz.80 / BB 88) — Alexandra Sikorskaya (Medtner: Sonata-reminiscenza in A minor, op.38/1; Chopin: Scherzo No.4 in E major, op.54; Chopin: Andante spianato et grande polonaise brillante, op.22)

Brönnimann, Basel Sinfonietta / World Wide Music — Basel, 2016-09-24

Concert review — Basel Sinfonietta / Baldur Brönnimann, Volkshaus Basel, 2016-09-24: Jannik Giger (*1985): Came Adrift (2016); Toshio Hosokawa (*1955): Ferne Landschaft III—Seascapes of Fukuyama (1996); Andrew Norman (*1979): Unstuck (2008); Brett Dean (*1961): Amphitheatre—Scene for Orchestra (2000); Kevin Volans (*1949): Strip-Weave for Orchestra (2002/03); Arturo Márquez (*1950): Danzón No.2 (1994)

Boris Berezovsky — Piano Recital, Vevey, 2016-07-01

Review, piano recital Boris Berezovsky in Vevey, 2016-07-01 — L.v. Beethoven: Piano Sonata in C, op.53 “Waldstein”; Igor Stravinsky: Piano Sonata; Béla Bartók: Sonata, Sz.80 / BB 88; P.I. Tchaikovsky: Dumka op.59, 3 pieces from “The Seasons” op.37a; Igor Stravinsky: 3 mouvements de Pétrouchka

Christoph Croisé & Oxana Shevchenko — Zurich, 2015-11-07

Duo recital with Christoph Croisé and Oxana Shevchenko, Tonhalle Zurich, 2015-11-07 — Béla Bartók: Rhapsody No.1 for cello and piano, Sz.88 / BB 94; Claude Debussy: Cello Sonata in D minor (1915); Franz Schubert: Arpeggione Sonata in A minor, D.821; Alberto Ginastera: Pampeana No.2 – Rhapsodie for cello and piano

Gutman, Zander: Shostakovich, Dvořák, Bartók — Lucerne, 2015-06-29

Natalia Gutman played with rich rubato, exploring the depth, the melodic strength of Dvořák’s composition with her dense, soft and singing tone (…) often, in lyrical passages, the soloist appeared completely immersed into the music, listening and playing with closed eyes (…)
The fourth movement, Allegretto, “Intermezzo interrotto” is rhythmically intricate, playing with Bohemian folk melodies — in typical Bartók / Hungarian manner, the meter is changing almost from bar to bar, leaving western ears “hanging in mid-air”: the orchestra’s playing was very good and appeared almost effortless.