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Dominy Clements
MusicWeb International, February 2018

That ‘flowing’ nature of Schubert’s Sonata D. 959 is something that sounds very natural and expressive in Osorio’s hands. He doesn’t shy away from the drama in the first movement, but even as the storm-clouds gather and threaten there is a sense of line and shape that connects with the gentler sections. Perfect balance in voicing works its magic here, as it does in the utter simplicity that opens the second movement. The stormy middle section of this Andantino builds nicely, adding unexpected elements one upon the other like Beethoven’s ‘pastoral’ symphony until we are in the middle of a genuine typhoon. The transition back to tranquillity is done superbly, with time being stretched somehow without the feel of actual rubato in the romantic sense. The Scherzo sparkles like a fountain, cascading and spouting bursts of joy all over the place, while the easy melodic grace of the final Rondo is less relaxed and urbane, than crisp and alive with restless energy, propelling us towards the unknown and shaking off those pretty garlands and fronds, as there are more important things afoot…

There is a beauty in Brahms’s Op. 117 set of Three Intermezzos that keeps bringing us back, and this is a recording that will have you falling in love with them all over again. This is melancholy, but channelled into the creation of three gorgeous pieces that entirely side-step bitterness or anger in old age. Osorio’s touch here is pearlescent: lyrical without too much sweetness, and gentle without weakness of tone.

All of this excellent stuff makes the anticipation of a good Schubert Sonata D. 960 very strong, and I for one was not disappointed. Osorio takes the first movement at a respectable pace, using the Molto moderato marking as a platform for an unfolding and rather urgent drama rather than a place for endless reflection. Rather than feeling cheated, this comes across as quite a refreshing view on this magical movement. Osorio allows the music its breadth and breath, but with convincing light and shade manages to convey its huge expressive range while bravely pushing onwards. © 2018 MusicWeb International Read complete review

Gary Lemco
Audiophile Audition, January 2018

Best Classical of 2017 – I

Jorge Federico Osorio invests an ardor of personal authenticity into the late works of Schubert and Brahms. © 2018 Audiophile Audition

Paul Orgel
Fanfare, November 2017

…Jorge Federico Osorio’s unmannered, vital playing gets right to the heart of the music. © 2017 Fanfare Read complete review

Jed Distler, 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 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

Bruno Repp
American Record Guide, September 2017

Osorio’s playing of these familiar masterpieces seems ideal to me in every respect. What more can I say? If I mentioned any aspects of these performances, I would be writing about the music, not about Osorio’s interpretation. There is no interpretation here, because Osorio speaks the language of these composers perfectly (and without any Mexican accent). And his command extends to every expressive detail, so that the music emerges pristine while the artist is transparent.

By calling the performances ideal I do not mean to say that they are the best ever. There is no such thing. Certainly there are (and must be) many other ways of playing this music. There has to be variety in performance for familiar music to remain interesting. What I mean by ideal is that everything Osorio does in every piece on this recording sounds just right, and that is a rare and special feeling. There are no exaggerations, no understatements, no mannerisms; technical mastery is evident, and every tempo is spot on. © 2017 American Record Guide Read complete review on American Record Guide

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, 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 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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