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Adrian Corleonis
Fanfare, November 2008

Kanazawa and Admony are consistently brilliant, virtuosic, and spankingly paced—qualities magnified by a very close, detailed capture presented at an elevated dynamic level to pack an undeniable visceral wallop. They roll out the big tunes with gusto… Consistently climactic throughout, Mazeppa complements Kanazawa/Admony’s strengths… © 2008 Fanfare Read complete review

Michael Cookson
MusicWeb International, October 2008

“Since my return from Vienna I have worked pretty continuously on my Symphonic Poems which first and for a couple of years have been my life’s work.” Liszt (1856). 

This continuing Naxos series of the Complete Piano Music, now standing at volume 29, has maintained an enviable level of consistency. Earlier this year I enjoyed volume 28 - Liszt’s transcription for two pianos of Beethoven’s Symphony No. 9 [8.570466]. Previously I had selected two discs from this series as my ‘2007 Records of the Year’: Volume 24 played by Giuseppe Andaloro on 8.557814 and volume 25 played by Alexandre Dossin on 8.557904. 

This volume 29 in the series comprises Liszt's two piano transcriptions of four of his Symphonic Poems. The performers, the Kanazawa-Admony Piano Duo, are a married couple who have won several prestigious awards including first prize in the 2000 Tokyo Piano Duo Competition, the 2001 Rome Prize, the 2002 IBLA Grand Prize and recently the Menuhin Gold Prize in the 2005 Osaka international chamber music competition. 

The opening work is Liszt’s third and best known symphonic poem Les Préludes, composed principally in 1854–56. It seems that Liszt originally wrote an overture to accompany four choral works. Later he composed another overture to Joseph Autran’s Les Quatre Éléments that incorporated some of the earlier music. Over a period of years he reworked this introduction into the symphonic poem, Les Préludes. Liszt marked the score with an extract from Alphonse de Lamartine’s collection of poems Nouvelles Méditations Poètiques. Both the orchestral score and this two piano version were published in 1856 at Leipzig. The progressive nature of Liszt’s symphonic poems did not sit comfortably with everyone and most notably the influential music critic Eduard Hanslick condemned Les Préludes.

I was impressed by the ability of Kanazawa and Admony to navigate the shifting moods of Les Préludes; a dramatic work so vibrant and declamatory. After the score’s early tenderness the music builds up to a wonderful excitement to end on a triumphant note.

From 1854-56 the symphonic poem Orpheus was originally written to serve as a prelude and epilogue to a production of Gluck’s opera Orpheus ed Eurydice that he was conducting in Weimar. Both the orchestral score and this two piano version were published in 1856. Lasting just under ten minutes Orpheus is the shortest score on the disc.

By comparison to Les Préludes the relatively restrained music of Orpheus presents a very different challenge to performers. Throughout this stream of music the duo’s concentration is outstanding. I just loved the Chopinesque elegance and tenderness of the opening section which displays the introspective side to Liszt’s character.

Liszt wrote the symphonic poem Mazeppa in 1855. It is an enlarged version of his splendid Transcendental Etude No. 4. The inspiration for the score is the gruesome, dramatic poem by Lord Byron and Victor Hugo where for punishment Mazeppa is strapped to a galloping horse that drags him across the Ukrainian plains. The orchestral version and this arrangement were published in Leipzig in 1857.

In Mazeppa the duo provide a fervent forward momentum. Their often breathless tempi combine satisfactorily with Liszt’s broad vacillation of mood. This is slow-burning music of turbulence and anguish. I was highly impressed with the duo’s uninhibited vivacity and the sparkling intensity of the performance.

Liszt’s twelfth symphonic poem Die Ideale was composed 1857-58. It is based mainly on a poem by dramatist Friedrich Schiller. Quotes from the poem are printed at various points during the score. Again the orchestral score and this two piano version were published in 1858. At twenty-four minutes in length it is the longest work on the disc.

Kanazawa and Admony display considerable energy throughout the gruelling physical demands of these arrangements none more so than in the lengthy Die Ideale. Here wave after wave of emotion develops into a tremendous climax to close the score.

It is good to have these symphonic poems available as Liszt intended in arrangements for the recital room as well as for the concert hall. However, without the broad palette of colour provided by the orchestra it is not surprising that these two piano arrangements can seem rather overlong. At certain times I was even reminded of pianists accompanying a 1920s silent film. This notwithstanding, there is much wonderful music to be enjoyed here. The impeccably prepared partnership perform these challenging scores marvellously and are well recorded too.

Rob Maynard
MusicWeb International, August 2008

If you’ve been following Naxos’s fascinating series of Brahms’s music transcribed for two pianists, you’ll know that his first piano concerto may be found on both Vol. 9 (Naxos 8.554116) and Vol. 17 (Naxos 8.555849, reviewed here). That’s because the transcription of 1864 was for piano duet (four hands playing a single piano) while that of 1873 was for two pianists playing on two pianos.

Given the comparative rarity of middle class households that possessed two instruments, the transcription for a single piano was undoubtedly the most commercially viable for Brahms’s publishers. But listening to both versions side by side makes a convincing artistic case for using two separate pianos when replicating a score that was originally conceived for a full 19th century symphony orchestra.

It is, therefore, very important to make it clear that Tami Kanazawa and Yuval Admony are performing this music on two separate instruments, with all the increased flexibility, resources and, ultimately, power that that fact implies.

That issue of sheer power is, moreover, particularly important in the case of piano transcriptions of Liszt’s symphonic poems, many of which are, by their very nature, very melodramatic. …Thankfully, Kanazawa and Admony do have the necessary power in their fingers to tackle the composer’s riper purple passages – and they’re even better in Liszt’s more reflective, lyrical passages. Past winners of the 2000 Tokyo International Piano Duo Competition, the 2001 Rome Prize, the 2002 IBLA Grand Prize and the Menuhin Gold Prize in the 2005 Osaka International Chamber Music Competition, this married couple clearly think as one and complement each other beautifully. It is hard to think that their performances on this disc could be bettered.

David Denton
David's Review Corner, July 2008

This latest edition to the Naxos cycle of the complete piano music of Liszt is one of the most exciting in a series already bedecked with critically acclaimed discs. It contains the composer’s piano duo transcriptions of four orchestral tone poems, Les Préludes, Orpheus, Mazeppa and Die Ideale, and is given by the staggeringly brilliant husband and wife duo, Tami Kanazawa and Yuval Admony. These are two big pianists in the most favourable sense of the word, and when they unleash massive fortissimo passages it is with spine-tingling impact and brilliance. Yet hear their quiet passages in Orpheus,which are of considerable gracefulness. There are passing moments where I would have liked a more singing quality, but they are a minor drawback. It is the detail they bring to the most complex passages in Les Préludes thatis so astonishing, and they produce a sharp edged staccato that an orchestra could not achieve. Mazeppa opens in a veritable whirlwind, the agility of both players beyond question, and when they launch into the first theme it is in high drama. Throughout they stoke up the scenes of Mazeppa strapped naked to a wild horse with unfettered frenzy. The disc concludes with the more restrained Die Ideale where the composer’s religious consciousness surfaces, the combined sound warm and beautiful. The recording can at times err towards hardness, but compensates with sheer impact and a clarity that divides the two pianos between speakers yet creates a unified sound.

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