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Dec 21, 2021 · The Classic Review - December 21, 2021. We go over a lot of classical music albums every week, so when 2021 comes to an end it’s time for members of The Classic Review staff to pick their favorite albums of the year.
- Schubert – Symphonies No. 8 & 9 – Gewandhausorchester, Herbert Blomstedt
- Samuel Coleridge-Taylor – Chamber Works – Kaleidoscope Chamber Collective
- Saint-Saëns – Piano Concertos No. 1 & 2 – Alexandre Kantorow
- Insieme – Jonas Kaufmann, Ludovic Tézier
- “Echo” – Ruby Hughes, Huw Watkins
- Bach – Goldberg Variations – Klára Würtz
- Mendelssohn – Piano Concertos – Lars Vogt, Orchestre de Chambre de Paris
- “Phrases” – Héloïse Werner
- Chopin – Complete Mazurkas, Vol. 1 – Peter Jablonski
- Brahms – Late Piano Works – Paul Lewis
Blomstedt has recorded these symphonies multiple times, but never better than here. He has this music in his bones, and these performances unfold with an organic inevitability that makes it hard to imagine the music could go any other way. The Gewandhausorchester offer wonderfully supple playing that vividly captures the mercurial shifts in emotion...
With so many works recorded multiple times by established performers, it’s wonderful to be acquainted with an unknown composer in general, and particularly with his seldom-played works. This album includes Samuel Coleridge-Taylor’s early chamber works that show tremendous vigor and originality. The players of the Kaleidoscope Chamber Collective rai...
A performance of the Saint-Saënspiano concerto (especially the No. 2 G minor) is not necessarily anything new. An excellent one, however, is memorable. Alexandre Kantorow’s (with his father leading the Tapiola Sinfonietta) is just that: a blend of excitement, finesse, and seamless collaboration. The delightful Allegro Scherzando swept me off my fee...
In the streaming-era of classical music recordings, opera arias albums can sound patchy and incohesive, but this program is far from it. Presenting duets from operas by Ponchielli, Verdi and Puccini, the album is a delightful listen from first note to last, with the few of the best talents currently active, Jonas Kaufmann, Ludovic Tézier and to no ...
Hugues’ 2020 album, Clytemnestra, made my top 3 back in 2020 and there’s a good reason that she’s made it again this year. Like the previous album, Echo reflects a thoughtful combination of old and new, established and adventurous but takes a very different angle in the exploration of the human psyche. Hughes has a level of artistry in singing that...
When writing the 3-part guide to the best recordings of the Goldberg Variations, I was deliberating between many versions that illuminated the work with fresh ideas and the ones that exemplified the sometimes elusive essence of the piece. Very few did both. Out of the many versions emerged what, I thought, was a straightforward and all around solid...
My March 2022 reviewof this album ended with the following: “There is a full color picture in the booklet that shows a jovial orchestra with its new artistic director, and that connection is conveyed in the music making heard here. I look forward to hearing more from this team soon.” Only a few months later Vogt died from esophageal cancer at the a...
Héloïse Werner’s debut album was one of the most original and creative this year in terms of programming, but it also managed to impress with the sheer virtuosity of the performance. Using the human voice as an instrument, Werner looks at human language from many angles, in contemporary works by 8 composers (including herself). The quality of perfo...
Jablonski’s first volume of the Chopin Mazurkas makes my Top 3 for 2022 with a fine display of artistry. These miniature gems can be fleeting with their length (or we should say lack thereof), so it’s very much up to the pianist to establish the character early on. Jablonski manages to do this successfully, I would say, for all of the Mazurkas pres...
Paul Lewis continues to concentrate in recording the core piano repertoire with works by Haydn, Beethoven, Schubert and here Brahms, with the complete set of the late Op. 116-119. It’s almost easy to take this performance for granted, as Lewis always puts the music first, follows the score closely and never convey extreme interpretational decisions...
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