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Jed Distler
ClassicsToday.com, June 2017

Pianist Davide Cabassi’s thorough command and full-bodied sonority are exactly what these works require, while Kimbo Ishii and the Magdeburg Philharmonic Orchestra provide ample, vibrant support. © 2017 ClassicsToday.com Read complete review



Alan Becker
American Record Guide, January 2017

The first concerto is a student work, though you would never know it since Goetz began as stylistically mature. The ideas are fresh, untroubled, and gloriously melodic. There is no struggling with form or awkwardness in handling his materials. Italian pianist Cabassi has the technique for the abundance of Lisztian rhetoric. He also has the experience and temperament to make the most of what the composer offers. His tone is warm and sparkling, though placed very forward in the sound spectrum. He has an impressive, if limited discography. Both the Taiwanese-born conductor and the German orchestra are skilled performers.

Concerto 2 followed six years after his first. It is a longer, more extended work, yet remains pretty much in the same territory established by Concerto 1. It too is a lovely work, with memorable ideas, and should continue to draw smiles from listeners attuned to mid 19th Century romanticism. Needless to say, I loved every minute. © 2017 American Record Guide Read complete review on American Record Guide



Robert Benson
ClassicalCDReview.com, December 2016

Goetz wrote two symphonies, two operas, two piano concertos and a violin concerto along with vocal and chamber music. This splendid Naxos CD presents the two piano concertos, both of which are delightful, filled with melodic inventiveness and pianistic display, reminiscent perhaps of Hummel. Both are brilliantly played by Italian pianist Davide Cabassi with strong support from the excellent Magdeburg Philharmonic led by Kimbo Ishii who also assisted in production of this disk. Excellent audio is another plus. © 2016 ClassicalCDReview.com Read complete review



WTJU, November 2016

Davide Cabassi delivers committed performances, giving the music some emotional weight. The Magdeburg Philharmonic Orchestra directed by Kimbo Ishii have a good ensemble blend that balances lushness and clarity. © 2016 WTJU Read complete review




Remy Franck
Pizzicato, October 2016

…Davide Cabassi and Kimbo Ishii’s committed performances make this CD worthwhile for anyone attracted to the genre. © 2016 Pizzicato



Jeremy Nicholas
Gramophone, October 2016

The Italian soloist, Magdeburg players and Taiwanese-born conductor give both works full-bodied, characterful readings… © 2016 Gramophone Read complete review on Gramophone



Ralph Graves
WTJU, September 2016

[Goetz’s] melodies are beautiful, and they’re set over some rich harmonies, but none of its just for show. There are structure and purpose in Goetz’s writing which provides a solid underpinning to the pretty surface.

Davide Cabassi delivers committed performances, giving the music some emotional weight. The Magdeburg Philharmonic Orchestra directed by Kimbo Ishii have a good ensemble blend that balances lushness and clarity. © 2016 WTJU Read complete review



David Denton
David's Review Corner, September 2016

Those searching for rarely performed operas will have discovered Hermann Goetz’s Der Widerspenstigen Zähmung based on Shakespeare’s The Taming of the Shrew. It appeared in the mid-1940’s on Urania, a treasure trove label in those now long forgotten days, and there we found a comedy whose lightness and lyric qualities would have delighted Mendelssohn, though its parentage was in Mozart. Searching for more Goetz was fruitless, the young man having died at the age of thirty-five having been ill for many years with consumption, and seemingly his music died with him. Yet by that time he had written extensively, including two operas, a singspiel, two symphonies and two piano concertos. The First Concerto was composed while still a twenty-one year old student, the fact that he had a rich seam of memorable thematic material is evident in the opening movement, though, as yet, his orchestral writing was in an ‘accompanying’ mode. For the keyboard it is proactive, and often a lone voice—as in the central Adagio—before dancing around the orchestral backdrop in the finale. Six years later the Second is twice as long, and adds a more weighty orchestra. That said, his basic style had changed little for this most likeable work where the piano part is black with notes. The Italian pianist, Davide Cabassi, makes light of the mercurial passages, and the Magdeburg Philharmonic—when we can hear them—eventually come to the fore in the Spring Overture. The woodwind department are particularly effective in their highly rewarding role in a score of pastoral contentment, the Taiwanese-born, Kimbo Ishii, conducting and acting as the recording’s ‘producer’. © 2016 David’s Review Corner





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