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Alan Becker
American Record Guide, July 2015

Spanish-born Hernán Milla…is a wonderful pianist. There is nothing routine in his playing and much to admire as he draws all the color and rhythmic subtlety he can from the music. © 2015 American Record Guide Read complete review on American Record Guide



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, March 2015

Pianist Hernan Milla…plays with a sympathy and flair that seems just right for the music.

…there are moments of true brilliance to be heard here. © 2015 Gapplegate Classical-Modern Music Review Read complete review



Stephen Smoliar
Examiner.com, February 2015

…Milla has a solid command of the many technical demands that Albéniz has imposed. If the movements of Opus 68 are a bit short for nineteenth-century sonatas, Milla brings an expressive urgency to his execution that makes it clear that this is not an assembly of three disjoint movements. On the other hand he has just the right lightness of touch to capture the spirit of each of the twelve Opus 92 pieces. This is definitely a welcome addition to Naxos’ project. © 2015 Examiner.com Read complete review



David Denton
David's Review Corner, February 2015

A precociously gifted pianist from an early age, Isaac Albéniz, retired from the stage at the early age of thirty so as to study composition with Dukas and d’Indy. He sadly died at the age of forty-nine, and we know him largely by his works from his younger years, the present disc covering two scores completed while in his twenties. Setting himself the challenge of writing in a style from previous eras—Gavotte, Minuetto and Pavane—while introducing a national element with Andalusian folk music—Zambra and Torre Bermeja. In reality it is Chopin dressed up in many guises, nowhere more so than in the bubbly Polonesa and Mazurka. The whole work last not far short of an hour, but such is its pleasing thematic material and changing moods that it passes in a trice. For the pianist there is the mercurial Staccato penultimate movement, but, by and large, it does not present massive challenges. The work was completed in 1888, two years after the short Third Sonata, the work cast in a classical mould, but the first two movements of a very lightweight nature not far removed from salon music. Then in a complete change the finale is fast and highly demanding, and speaks volumes of Albéniz’s life as a virtuoso. The Spanish-born pianist, Hernan Milla, has had Albéniz as a composer he would champion, and you have the feeling that the music just flows from his fingers, his own musical personality subjugated so as to leave the listener in direct contact with the composer. The sound quality on the seventh of this on-going cycle of Albéniz is superbly recorded. © 2015 David’s Review Corner





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