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Jed Distler
ClassicsToday.com, May 2018

To paraphrase Rod Serling’s Twilight Zone introductions, the pianist submits two performances for our approval: an archival live recording from his March 29, 1965 Carnegie Hall recital, and a 1971 studio recording. Badura-Skoda’s unusually forthright booklet notes cite the studio version as a more “correct” and “controlled” interpretation in relation to the “energetic” and, at times, “eccentric” live traversal. I completely agree with Badura-Skoda’s self-evaluation, although “correct” and “controlled” does not mean “careful” by any stretch of the imagination! © 2018 ClassicsToday.com Read complete review



Raymond Tuttle
Fanfare, March 2018

Back-to-back performances of Liszt’s daunting Piano Sonata might seem excessive, but Paul Badura-Skoda almost leaves one wanting more. The two performances are not so different as to suggest that two different pianists were involved, but they are hardly identical. © 2018 Fanfare Read complete review



Jean-Charles Hoffelé
ARTAMAG’, December 2017

An insane flow of music, impeccable style but carried out by a kind of madness that demonstrates to what extent the demon of virtuosity can take possession if necessary. © 2017 ARTAMAG’




Preis der deutschen Schallplattenkritik (German Record Critics’ Award), April 2017

Paul Badura-Skoda in the seven decades of his activity has shown his ability to handle an unbelievable broad repertoire. That Liszt’s b minor sonata also belonged to that repertoire is probably the biggest surprise to many listeners. This release with its live and studio rendition of the piece reassures some expectable prejudices: There is a pianist playing with enormous ability of shaping the music, clear in his diction, logic and transparency but without any desire for sensation or cheap showmanship. One could almost say: Badura-Skoda plays Liszt in a “typically German” way. In the concert recording he leads the suspense curve without a break in great variety. At the end one has to gasp—not only because of the artistic part of the show but mainly because of Liszt’s ability to create such an extraordinary work. © 2017 Preis der deutschen Schallplattenkritik (German Record Critics’ Award)





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