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James Harrington
American Record Guide, March 2017

This is labeled Complete Piano Music, and 6 of the 22 tracks are first recordings. Koukl has an excellent track record, with superb complete piano music recordings of Martinu (7 volumes on Naxos) and Tchrepnin (8 volumes on Grand Piano).

The booklet notes are excellent, performances everything you could hope for in obscure music, and the piano sound is up to Grand Piano’s established high standards. © 2017 American Record Guide Read complete review on American Record Guide



Barry Brenesal
Fanfare, March 2017

Giorgio Koukl’s championing of lesser known composers, combined with a detailed study of their works, and an energetic, informed interpretation of their works, has proven wholly attractive in the past. Here, I can commend the power he brings to Avril—this isn’t Marguerite Long serving Fauré as a thin, pastel-colored soup. His rhythmic snap, his powerful voicing for Le Flem’s broad-spanned chords, are all to the good. He treats the spray of figurations in Par grèves with both sportive forthrightness and a wealth of color.

…a commendable, insightful series of performances, devoted to music that deserves to be better known. …With excellent, full-bodied sound, this disc is recommended. © 2017 Fanfare



Marco Frei
Piano News, March 2017

Interpretation
Klang
Repertoirewert

Imagining a better advocate for the piano music of Le Flem is impossible. It brings a great benefit to listen how Giorgio Koukl captures the music of this French composer. …the pianist generates a stupendous and delicate feeling for the shimmering nuances… © 2017 Piano News



Ulrich Hermann
The New Listener, November 2016

The piano music of [Le Flem] immediately appeals to me, in that it is very moving and brilliantly exploits the possibilities of the whole keyboard. This is piano music at its finest, which gives enormous pleasure to hear and makes me curious on his symphonic work or his songs.

Neither his name or music is known! But such discoveries is one of the most beautiful possibilities of the CD medium. © 2016 The New Listener



Steve Arloff
MusicWeb International, November 2016

It is a continuing source of amazement to me how many little known composers are ‘unearthed’ and whose music is introduced to a wider public; not just amazement but delight. The music of Paul Le Flem certainly ranks highly in this sphere.

It is of no surprise that it is Giorgio Koukl who is pianist here since he is a dedicated musical ‘archaeologist’ who ferrets out undeservedly neglected works by equally undeservedly overlooked composers as his recent recordings of Tcherepnin’s complete solo piano music, which I had the privilege of reviewing all 8 discs of, amply demonstrate as well as piano music by Tansman and most recently Arthur Lourié, the second disc of which I eagerly await. He is also a champion of Martinů and he has recorded his complete piano music and concertos as well as his songs with mezzo-soprano Jana Wallingerová. His dogged research is fuelled by commitment to bring this music to the public and this often proves difficult and many others would not be as resolute in pursuing it so music lovers have a great deal to thank him for. Add to this a wondrous lightness of touch which so perfectly suits such elegant music and you have a disc which is valuable on several levels. Core repertoire is of course highly important and fresh approaches to interpretation of all the familiar compositions is always welcome but how refreshing it is to be introduced to someone as interesting yet almost totally unknown as Paul le Flem. I urge you to listen to this captivating music so brilliantly played. © 2016 MusicWeb International



David Denton
David's Review Corner, October 2016

The present disc would appear to contain his complete piano works, though he was to write in most forms, including stage works and three symphonies. He had been a composition pupil of D’Indy and Roussel, but was to have a chequered life reaching its peak as a teacher at the Schola Cantorum, there playing an influential role the music of future generations. So successful in that position, he largely withdrew from composition when he found his young people were entering a new musical world when his own music was still wedded to Debussy. Giorgio Koukl has chosen by far the most attractive score to open the disc, the shimmering colours of Avril (April) a valuable addition to the Impressionist repertoire. The most extended score, Le Chant des Genets, gathers together five pieces influenced by Breton folk songs, a feature that recurs in the cameo pieces, Seven Children’s Pieces, and also in the waltz Les Korrigans, a Korrigan being a magical creature from that region. It dates from 1896 when he was fifteen, with his final piano composition, Pour Le Main Droite (For the Right Hand) completed in 1961. There followed complete silence from him in the last twenty-three years of his life. The Czech-born pianist is a champion of little known music who usually enjoys an outstanding sound quality from the Swiss recording venue… © 2016 David’s Review Corner





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