What an agreeing, approving sound! In every tone, there's positive energy shining at listeners. It's not funny, it's not really joyful; it's just determined to radiate.
Immerseel is subtle and tender. Period instruments of Anima Eterna touch the chamber currents. It's a powerful recording without any obtrusive massiveness.
Composer: Ludwig van Beethoven Work: Symphony No 1, IV. Adagio Recording: Anima Eterna, Jos van Immerseel
The smell here is really importune. Pa-pa-pa-pam! Pa-pa-pa-pa-pam! It's coming from everywhere, it's attacking from all directions. Tirelessly, persistently, steadily.
At all, the movement sounds comprehensive and exhausting. If I were Schubert, I'd drop after the first movement. This sonata does not need two movements.
Composer: Franz Schubert Work: Piano Sonata in C Major, D. 840, I. Moderato Recording: Imogen Cooper
One would say it's brisk, sharp music. But I smell a special softness in this recording. Round tones, lyricism. And with a modern touch, no rampant over-romanticizing.
Even in the most animated moments, it's not rigorous. Harnoncourt makes it breathe. This is C Major at its best.
Composer: Antonín Dvořák Work: Slavonic Dances Op. 72, No 7 Recording: Chamber Orchestra of Europe, Nikolaus Harnoncourt
Years ago, I skipped slow movements in symphonies. There was not enough thrill in them for me. Today I'm maybe thrilled in different ways. I'm fascinated with the simplicity of expressive means, with orchestration, with inner intensity.
But perhaps the greatest beauty of this C Major symphony is contained in the third movement, in Adagio of such a lyrical intensity that it stands alone among the slow movements of its time, said young Bernstein about the movement. In this 1953 recording, there's no fear of misunderstanding. Pure music.
Composer: Robert Schumann Work: Symphony No 2, III. Adagio espressivo Recording: New York Stadium Symphony Orchestra, Leonard Bernstein
It's a jagged piece of music for two violins. Imagine these two violins as one voice, one person, fragmentary, absent-minded. Obsessively exploring what's happening around, not able to focus, not willing to pay attention.
There's no absolution. The music is here to be accepted. Will you be able to make sense of it, will you be able to follow both lines?
Composer: Sergei Prokofiev Work: Sonata for two violins, II. Allegro Recording: Veronika Jarůšková, Eva Karová
A dance that starts so brightly is slowly decaying, turning into a nightmare. Down, down to depression, all the light is gone. It is–somehow–comfortable. During the last minute, there's not even one happy tone, and yet the last one is so sedative.
I'm not sure how Isserlis can play the cello and dance at the same time but he does. This is the best of modern recordings of these suites.
Composer: Johann Sebastian Bach Work: Suite No 3 for Solo Cello, VI. Gigue Recording: Steven Isserlis
Subtle, high-hearted, noble tone. Happy melody. I smell spring coming, gentle, green, embracive.
There's just one hard tone there (1'38''). It's a stamp of a child. Do you feel how indignant the child is? "Do it one more time, better, I want it!" And we do it–for spring.
Composer: Wolfgang Amadeus Mozart Work: Sonata for Piano No 15, K. 545 Recording: Sviatoslav Richter
