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Todd Gorman
American Record Guide, January 2016

Patrick Gallois has embellished the dull flute parts and manages the other challenges well, including a very long held note in Op. 107:3. …[He] avoids the detriments in Rampal’s rendition and manages some astonishingly soft playing as well as Rampal’s breathtaking range when he goes beyond pianissimo.

[Maria Prinz’s] performance has all the respect the music deserves… There’s no abandon, so there are few sparks and moments of “aha”. © 2016 American Record Guide Read complete review on American Record Guide



Brian Wigman
Classical Net, November 2015

Haydn’s folk songs are delightful, and—perhaps surprisingly—so are Beethoven’s. They have a lightness and playfulness that we generally don’t associate with this surly genius, and Gallois and Prinz obviously are having a tremendous amount of fun. © 2015 Classical Net Read complete review



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

Patrick Gallois and Maria Prinz provide us with bravura performances of the two collections, both melifluous and nicely detailed given the performance version of Patrick’s.

The combination of jaunty folk melodies and variational inventive near-brilliance carries the day as played so well in this elaborated performance version by Gallois and Prinz…Very recommended. © 2015 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, September 2015

Letters between Beethoven and the Scotsman, George Thomson, relate the financial haggling that took place before he completed the two sets of Variations. At the Scottish end was a desire for Beethoven to compose a series of works that could be played by amateurs, with the composer and purchaser eventually settling on a series of Variations on folk songs that Thomson would provide. At his request it should be scored for piano with an obbligato part for violin or flute, obviously intended to sell sheer music to as many customers as possible. There followed letters where Thomson claimed the music was too demanding for amateurs, Beethoven finally giving up the whole project as he protested he could make them no easier. The two resulting works, in the form of Six and Ten Variations were eventually published in 1819 and 1820 by Artaria and Simrock respectively, and are so simple they were never intended for public performance, though they have a charm that would make them pleasing student pieces. There are tunes you may recognize, such as the Irish song, Paddy whack, and the Scottish, Bonny laddie, highland laddie, the variations throughout being simple but resourceful. The distinguished flautist, Patrick Gallois, writes that to add substance to Beethoven scores needed help, and he has added ornamentation based on performance practice of the early 18th century. He plays a wooden flute that gives the timbre of instruments from that era, and with little in the way of technical demands, he, and his pianist partner, Maria Prinz, are pleasing in a nicely balanced sound perspective. © 2015 David’s Review Corner





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