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November 16 , 2012

Reviews of the Week

András Schiff's new recording of J.S. Bach's Das Wohltemperierte Clavier is reviewed in French daily La Croix

..combien se révèle durable et profonde d’impression laissée par sa vision très pure, d’une lisibilité impeccable, mise en relief par une très belle prise de son magnifiant chaque nuance. Lorsque le silence revient, une fois clos le second livre de cet “Ancien Testament” du clavier, l’auditeur se sent transformé, serein et émerveillé.
E.G., La Croix


Modernclassicalmusic.com on Anna Gourari's Canto Oscuro

These are all pieces of substance. Gourari is authoritatively assured, fluid and striking in her realization of dynamics and the spectrum of touch modes she brings into the music. This is pianism of a very high caliber.
Grego Applegate Edwards, Classicalmodernmusic.com


Acclaim from England and Ireland for Indicum by the Bobo Stenson Trio

Swedish pianist Bobo Stenson has been a key figure in European jazz for a long time: as a sure-footed and imaginative accompanist, as one of Jan Garbarek’s partners in the 1970s, and as an enthusiast for the folkier end of the spectrum. Indicum is as good as 2008’s excellent Cantando. [...] As with most Stenson albums, Indicum repays repeated listens.
John Fordham, The Guardian

Though the material is diverse, ranging from tunes by George Russell and Bill Evans (the latter a heartfelt tribute to Stenson’s friend and collaborator, drummer Paul Motian) to readings of Scandinavian folk music and wholly improvised pieces by the group, there is a satisfying unity in the trio’s sound, born of mutual understanding and a fearlessly creative approach to improvisation.
Cormac Larkin, Irish Times


The interplay of Jan Garbarek, Egberto Gismonti and Charlie Haden on Magico: Carta de Amor impresses British and French reviewers

The interplay of Jan Garbarek, Egberto Gismonti and Charlie Haden on Magico: Carta de Amor (ECM 2280-81) impresses British and French reviewers

There is a magical sparkle to this glossy live recording from 1981 of a renowned trio shifting mood and cadence at will. A single note turns optimism to mournful lament and one rising scale morphs lyricism to discordant inquiry.
Mike Hobart, Financial Times

The Brazilian Gismonti, who can make the guitar sound like a piano and vice versa, remains the dominant voice but what grabs you is the emphatic interplay between all three.
Phil Johnson, Independent On Sunday

Le trio, justement dénommé „Magico“, déploie autant d’inventivité que de sensibilité sur des compositions issues en majorité de la plume du Brésilien. Et dont on retiendra (entre autres) un mervieilleux ‚Don Quixote’ où Gismonti donne au clavier toute la mesure de son gigantesque talent.
YannMens, La Croix