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Byzantion
MusicWeb International, November 2013

Blome has an impressive discography to her credit, both as soloist and as a chamber musician. Her previous acquaintance with Frommel lends her interpretations here all the more authority—she is assured, sensitive, communicative. This recital will leave listeners looking forward to the one or two further volumes that will cover Frommel’s four remaining sonatas.

Sound quality is good, as it always is with Grand Piano… © 2013 MusicWeb International Read complete review



Mark L Lehman
American Record Guide, July 2012

These fascinating sonatas came as a real discovery to me. I was afraid they’d be too old-fashioned for my taste…but Frommel’s skill, resourcefulness, and strength of personality carried me along as I found one thing after another to marvel at and delight in. Much of this pleasure is due of course to pianist Tatjana Blome, who plays with admirable clarity, authority, and vivacity, and is captured in Grand Piano’s clear, strong, and immediate sonics.

Listeners wanting to hear more by Frommel might…hope for a second volume of the piano sonatas from Tatjana. © 2012 American Record Guide Read complete review on American Record Guide online



Chris Morgan
Scene Magazine, May 2012

The mysterious, fantastical environs of Piano Sonata No. 1 in F sharp minor, in all its neo-romantic splendour eventually yields to the eerily sharp harmonic phrasing of the second sonata—Op. 10—which in many ways serves as the antithesis to the first composition. Finally, Piano Sonata No. 3 beguiles with its numinous expressions, channeled effectively through the dancing fingers of pianist Tatjana Blome. A rapturous sojourn. © 2012 Scene Magazine Read complete review



Infodad.com, May 2012

These three sonatas, essentially classical in form and length, come across with very different emotional and intellectual impact. The first and longest, from 1930-31 and revised in 1975, is in the challenging key of F-sharp minor and is mostly a tender, lyrical work. The second, in F major, dates to 1935 and shows a much stronger Stravinsky influence in its clownishness and grotesqueries. The third as played by Tatjana Blome is a curious piece, dating originally to 1940-41 but being revised in various ways from as early as 1962 to as late as 1980. It is the most impressionistic of the three works and shows the most individual treatment of the piano in its structure. Blome plays all the sonatas sensitively and with great understanding, and the disc will be a treat for listeners interested in off-the-beaten-path piano music that is nevertheless very worthy of being heard with an unbiased ear, leaving behind any uncertain political association its composer may have had. © 2012 Infodad.com Read complete review



Kare Eskola
YLE Radio 1, May 2012

Tatjana Blome’s fresh recording … opened up to me a completely new form of musical aesthetics. Frommel offers a genuinely unique alternative to both expressionism, impressionism and neo-classicism. I did not know Frommel’s music previously but […] he is a natural successor to the Central European tradition of romanticism, which everyone believe to have ended in the “isms” of the early 20th century.

The most astonishing aspect about Frommel’s music is its unforced flow. […] Frommel even anticipates the musical pluralism of the 1990s. The recording has been released by a piano music specialist label Grand Piano. True devotion to the cause can be heard in an overall quality recording which emphasises Tatjana Blome’s soft touch but also gives space to some serious hammering.

The booklet liner notes provide proof that Frommel was not a Nazi supporter […] Understandably, for Germans in particular, this info is essential and partly explains why Frommel has been so totally forgotten. This being the case, why not let us focus on the music which is both interesting and fresh – despite being written 80 years ago? © YLE Radio 1



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, April 2012

The piano sonatas on the disk at hand are well put-together, inventive examples of idiomatic modern piano music that abound in thematic material of an attractive sort, pleasing developmenal passage work and a memorable quality in general.

Frommel’s sonatas have a maturity of voice and sense of eventfulness that tempt me to call out the name as a discovery, a neglected voice, someone whose reputation needs reviving…these three very charming sonatas…[are] played with sympathy and sensitivity by Ms. Blome.

…surely the Frommel of this recording will find a welcome among those who love the music of the 20th century…That this is. Recommended. © 2012 Gapplegate Classical-Modern Music Review Read complete review



SteveHoltje
Culture Catch, April 2012

well-crafted and enjoyable, especially when played with Blome’s light touch and rhythmic precision. © 2012 Culture Catch Read complete review



David Denton
David's Review Corner, April 2012

Gerhard Frommel is another example of a gifted composer who did not fit into the style of the time, many of his scores, including two stage works, still unperformed. Born in Germany in 1906, he fell under the influence of Hans Pfitzner whose master-classes he attended. It resulted in tonal music that after the Second World War was regarded in Germany as being fascist, though he had articles printed in the 1930’s when he expressed himself as opposed to Nazi ideology. The chances today that you will hear his piano music in the concert hall are slight, though he regarded his seven sonatas as a microcosm of his whole output. The three on the present disc…covers the ten year period beginning in 1931. They are curious scores mixing seriousness sitting next to music that is so utterly charming and pleasant, its melodic content readily entering your memory. Sample the second and third movements of the First Sonata whose content comes close to relaxing salon music. Four years later we find Frommel in the era of the most accessible Prokofiev, its relative brevity having the outer movements as proactive allegros surrounding a creamy melody for the andante cantabile. The Third Sonata started life in 1940, and was revised in 1962 and 1980, remaining unpublished at his death. Subtitled, Sonata Quasi una Fantasie, it is not easy to like or comprehend, as it meanders over almost nineteen minutes. The young German pianist, Tatjana Blome, certainly stakes out a claim for Frommel, her playing of the central movement of the Second pointing to a musician of rare sensitivity. Excellent sound from a Radio Berlin recording. The disc appears to be the first of a complete sonata cycle. © David’s Review Corner






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11:33:42 PM, 24 October 2014
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