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Jed Distler
ClassicsToday.com, September 2017

A generous feast: All of Brahms’ last piano pieces bracketed in between Schubert’s last two sonatas, performed by a musicianly virtuoso, captured in intimately close yet amply robust sonics. Jorge Federico Osorio’s mastery beckons your attention. The Schubert D. 959 A major sonata’s sprawling first movement receives a fluid and intelligently nuanced reading, followed by an Andantino that assiduously builds up to and decompresses after its shattering central climax. The scherzo’s easy lilt and winsomely varied chord arpeggiations justify a more easygoing, less precipitous tempo than usual. While the Rondo finale doesn’t quite match Pollini’s winged poetry, one cannot ignore Osorio’s firm left-hand underpinning and clear voice leading.

Even in a catalog crowded with excellent recordings of these works, Osorio’s cultured artistry offers much to savor over repeated hearings. © 2017 ClassicsToday.com Read complete review



Huntley Dent
Fanfare, September 2017

Once a pianist reveals a high professional standard of performance—Jorge Federico Osorio meets this criterion from the first moment he starts to play Schubert’s posthumous A-Major Sonata, D 959—I ask myself, “Poet, personality, or powerhouse?” These are basic categories of pianists, and it takes no time to mark Osorio as a definite personality. He plays with extroverted flair and a strong desire to convey his enjoyment of the music. In terms of unalloyed listening pleasure, this lovely melding of the last keyboard works of Schubert and Brahms, which leads to the album’s title of Final Thoughts, can’t help but appeal.

I’d say that Osorio’s Schubert is primarily an expression of instinctive musicality and outgoing emotions, which puts interpretative gestures second. As an interpreter, he is straightforward, taking the score at its word, which isn’t a fault—Schnabel did the same. …His ebullient scherzos and perfectly animated, natural finales are the high points of his performances. © 2017 Fanfare Read complete review



Phil Muse
Audio Video Club of Atlanta, July 2017

If there were any doubts that Jorge Federico Osorio is one of the finest pianists of our time, this ambitious program of the last piano works of Franz Schubert and Johannes Brahms would certainly disspell them.

The Andante is sheer magic: sad, mysterious, hauntingly beautiful. Harmonically it is the most audacious movement of all. …The way the melody keeps circling, obscured by chiaroscuro-like gauze, gives the music a dream-like quality. Osorio captures this element very well, as he also does with the exhortation in the Scherzo, marked Allegro vivace con delicatezza, to perform the music with the greatest vitality and delicacy, which would logically seem to be incompatible requirements. © 2017 Audio Video Club of Atlanta Read complete review



Bob Neill
Positive Feedback Online, June 2017

Osorio, to my shame whom I know nothing of, brings out the greatness of this composer, greatness I probably never really knew of. Would I have heard this greatness from Brahms sooner, say in my fifties, had I heard Osario play him? Who knows? All I can say is that in his hands Brahms has more poetry and power than I’ve ever heard from him. © 2017 Positive Feedback Online Read complete review



Alex Baran
The WholeNote, May 2017

Osorio performs [the Schubert Sonatas in A Major D959 and B-flat Major D960] undaunted by any of their challenges. His approach to the thematic material of their opening movements reveals the depth of his connection to Schubert’s intent. His playing is deeply moving and memorable.

While Brahms’ life was markedly unlike Schubert’s in every way, the kinship shared by their final works is perhaps only a posture, an attitude. This is what Osorio sets out to capture in these discs. The fire and passion of a work like Brahms’ Romanze in F Major Op.118 is a companion to any of Schubert’s most turbulent passages.

Final Thoughts is an ambitious project for its focus on the last musical utterances of two revered composers. Osorio speaks with honesty and conviction about what he finds in them. © 2017 The WholeNote Read complete review




Gary Lemco
Audiophile Audition, May 2017

Jorge Federico Osorio invests an ardor of personal authenticity into the late works of Schubert and Brahms.

The magnificent 1828 A Major Sonata, D. 959, for instance, combines an exalted lyricism with a breadth of interior turmoil, marked by circuitous harmonic ventures. Osorio plays the expansive first movement Allegro with a bright, forward motion, eschewing over-wrought dramatic ploys and padding so as to address directly the tensions inherent in its martial impulses and its secondary lied-motif in E Major.

The Rondo: Allegretto takes its main theme from an earlier Schubert sonata, here developed as a sonata-rondo a la Haydn. Osorio savors its richly textures, moving in shaded registers with liquid aplomb. The spontaneity of the playing the quick, mercurial melodic shifts on enharmonics soon assumes the excited proportions of a multi-faceted impromptu. The potent security of Osorio’s performance—captured in sterling sound by Engineer Bill Maylone—grants the mantle of Jorge Bolet to Senior Osorio. © 2017 Audiophile Audition Read complete review




Infodad.com, May 2017

…Osorio clearly has understanding and affinity for these works that would surely be just as clear at the start of the trilogy as they are in its latter two-thirds. Osorio builds to climaxes carefully, choose tempos wisely, and handles the very large first movements of both these sonatas with care and attentiveness throughout. And he paints a highly expressive and convincing canvas for both works, …Osorio is a pianist of sensitivity and nuance, and here shows himself capable of handling self-contained miniatures and large, even sprawling multi-movement sonatas with equal skill and involvement. To the extent that he takes chances in this recording, he succeeds with them admirably. © 2017 Infodad.com Read complete review



Lisa Flynn
WFMT (Chicago), May 2017

Schubert and Brahms both exhibited renewed bursts of creativity toward the ends of their careers. Jorge Federico Osorio pairs Brahms’s final solo piano pieces with those by Schubert for an inventive program of richly satisfying works that capture the essence of each composer’s towering individuality. © 2017 WFMT (Chicago)





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