Mon, Fri 星期一、五 5:30pm
Monday and Friday: 5:30pm-6pm
A group of music critics guide you through some of the the most interesting new releases to keep you in touch with the latest fine music recordings.
Critic: Leonard Ip
Gottlieb Muffat, youngest son of composer and Kapellmeister Georg Muffat, was a keyboard virtuoso whose career was based around the Viennese Imperial Court. Muffat, with his own elegantly ornamented style, absorbing influences from Germany, France and Italy, is remembered as a composer from whom Handel borrowed extensively – a common practice of the period. These premiere recordings represent the remarkable rediscovery of manuscripts sequestered and dispersed after the Second World War. Naoko Akutagawa’s previous recordings from Muffat’s Componimenti musicali were described by MusicWeb International as ‘galvanically virtuosic’.
Critic: Dennis Wu
Alexander Borodin composed one of the most popular debut cd pieces in the romantic quartet repertoire, probably because it is a sort of love letter dedicated to Borodin’s wife Ekaterina. (…) Dmitri Shostakovich composed an autobiography in music: After twenty-five years of ‘inner emigration’ he allowed himself once more to be personal, even if only in words to the wise. (…) And the third composer on this recording was was considered a well-kept secret of the Soviet Union for long for the western world: Moisei Vainberg, or (likewise in Russian) Mieczyslaw Weinberg.
Critic: Dennis Wu
Bela Bartok and George Enescu were born in same Year - 1881, Bartok in the Austrian-Hungarian city of Nagyszentmiklos (today Romania), Enescu in the Moldovian town of Liveni-Botosani (today Romania). Both pieces on this recording are youth works of theirs - 1900 (Enescu Octet) and 1907 (Bartoks 1st violin concerto). Both works were neglected - Enescus Octet for nearly a decade due to the challenges of the piece (being premiered in 1909) , and Bartoks concerto was neglected by its dedicatee, the violinist Stefi Geyer (who was also his young love), and was published only after her death, in 1956 (being premiered in 1958). Bartok and Enescu both died in self-chosen exile - Bartok 1945 in New York, Enescu 1955 in Paris - yet both were respected and admired for being contributers to the development of their countries’ culture and art, particularly as great «ambassadors» for the folk music.