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Ethelbert Nevin
La Folia, November 2016

An understated, sensitive four-hand piano realization of Resurrection. All the details and favorite bits are here, albeit briskly paced. © 2016 La Folia Read complete review



James Harrington
American Record Guide, July 2016

…I have nothing but admiration for the efforts of Nakazawa and Athavale. …The pianists always make music and musical sense even with the restriction of one keyboard. Lines that go back and forth between the performers sound like they are played by one person. The frequent tremolos used to sustain the massed orchestral sound are shaped and phrased as a string section would. The most amazing ability of these two is making lines clear when they inhabit the same octave on the piano. © 2016 American Record Guide Read complete review on American Record Guide




Infodad.com, February 2016

The performance by Maasa Nakazawa and Suhrud Athavale is more than serviceable… The notes are there, the tempos are followed and the harmonies are present, …this is a very valuable recording and a must-have for Mahler lovers: it shows the inner workings of the “Resurrection” symphony in ways that orchestral performances do not, and indeed cannot. © 2016 Infodad.com Read complete review



Paul Corfield Godfrey
MusicWeb International, February 2016

These arrangements of symphonic works often demanded very high levels of accomplishment on the part of their intended performers, in a way that argues for the superb attainments of the amateur players concerned.

The young pianists Maasa Nakazawa and Suhrud Athavale are well able to cope with the difficulties of their parts… © 2016 MusicWeb International Read complete review



Bruce Reader
The Classical Reviewer, February 2016

Maasa Nakazawa and Suhrud Athavale hold together the sometimes faltering musical line and slow tempo of the Allegro maestoso very well. As the movement progresses there are some fine, rhythmically sprung passages with this reduction highlighting many details. They bring some pretty volatile moments and, in some of the slow development sections, hold the attention surprisingly well, building to some moments of intense drama before an extremely effective coda.

These two pianists pick out many fine little details in the Andante moderato, displaying some terrific ensemble in the faster passages as well as a fine rubato. There are some beautifully shaped passages with crisp playing of great precision.

They bring a very fine rhythmic opening to In ruhig fließender Bewegung creating a fine forward flow, weaving some lovely musical lines, crisp and rhythmically sprung. The lyrical central section is quite beautifully done before they reach a fine climax from which the music falls away perfectly. © 2016 The Classical Reviewer Read complete review



David Denton
David's Review Corner, January 2016

With its pedigree of having been arranged by the young conductor, Bruno Walter, with the composer’s guidance, it is strange that this is a world premiere recording. Walter had become Mahler’s assistant conductor at the Hamburg Opera before the Second Symphony’s first performance in 1895, and was to become the most admired champion of Mahler’s music when his international status went into the doldrums in the middle years of the 20th century. Exactly why he wrote this reduction ‘for piano, four hands’ so shortly after the work’s premiere seems to have evaded the disc’s note writer as much as my own endeavors when I first came across the score back in the 1960’s, at a time when I was reviewing every new Mahler recording as they appeared. I concluded that it was probably nothing other than to give the work a wider currency at a time when the cost of the enormous orchestra made it a rare event. For the pianists it is an improbably task, the scale of the orchestral score simply evaporating in such surroundings. Still you must admire Walter for conveying as much as he did, and you are certainly made more aware of thematic development than when it is submerged with the orchestra at full tilt. The result is far from a virtuoso showpiece, but it requires the type of stamina that would make it a challenge in a ‘live’ performance. The Japanese/American duo have, in their careers as soloists, received numerous international competition awards, with both coming to the attention of the world stage some five years ago. They are a perfectly weighted duo, Walter having shared the work-load in a roughly equal quantity. Unusual, but well worth hearing. © 2016 David’s Review Corner





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