Wanderer

A warm greeting and a thousand thanks to all the de-passanti and the friends of the loggione who took a moment to comment on this review. @ Grasshopper: I don't have any of Bruch's chamber music, but I imagine it's as delightful as that of the concertos; could you give me some details on where to find it? Ah, I too have been quite absent from writing, due to a busy period at work, so I completely understand you, but I have no doubt that as soon as you get back to typing, excellent things will emerge, as always. @ JoP: I’m very interested in that edition you have with Akiko Myers, so I also ask you for some additional information (orchestra, conductor, label) to make some good comparisons. @ Copernico, Josi, Massimof, Hal, open mind, Mullah, Lello, and Sfascia: as well as to all the others, tks tks for the kind words and an encouragement to soon dive into the music of Max Bruch; you absolutely won't be disappointed! Strongly recommended.

Really interesting! Maybe it turns out that Scandinavian jazz didn't have to wait for ECM to stick its beak out...

Hello Marco85, thank you for the praise, but I’m not aware of the extent of my musical panorama; all I know is that I feel a perpetual sense of incompleteness and an insatiable hunger for listening. For sure, there are many people here on Debaser who have a highly certified and vast musical culture, first and foremost Hal, who left a precious and high-quality piece of advice above that I urge you to take to heart. As for me, I plunge into the banal and the obvious by suggesting Morricone (there's not much to do, soundtrack and Ennio are concepts that are almost overlapping for me), particularly with his works on Sergio Leone's spaghetti westerns, as well as those for films like "C'era una volta in America," "The Mission," "Nuovo Cinema Paradiso" (a film and music to which I’m very attached), "Canone Inverso," "La leggenda del Pianista sull'Oceano" (a bit jazzy), and others that I'm surely forgetting. If you're more into the soundtracks of American blockbusters, you can’t forget John Williams (practically all of Spielberg's films are scored by him), the current Midas of Hollywood Hans Zimmer ("Il Gladiatore," "Pearl Harbor," "King Arthur"), Trevor Jones ("L'ultimo dei Mohicani"), etc. Then there are more particular suggestions like Michael Nyman (especially for "Lezioni di piano") or Philip Glass (the Qatsi trilogy is incredibly powerful), or the music of Yo-Yo Ma for "Memories of a Geisha," which I recently enjoyed quite a bit... well, I don’t want to overwhelm you, let’s stop here for now. This is a rather obvious selection, but also useful as an approach to the genre. Best regards.

A magnificent page to describe a purest distillate of "sturm und drang," in the interpretation of one of the greatest pianists of all time. I have Ashkenazy's complete Schumann piano works, and a few scattered pieces by Pollini (Arabeske and the Fantasia op. 17, I believe): the former are dionysian performances, the latter ethereal and apollonian.

Wow, so intriguing, the quotes really make you want to dive in.

Never heard of it, but very enticing review.

Beautiful, I'm sticking psychedelic lights everywhere...

I have the same scheduling issue too, Hal, unfortunately. At worst, we'll buy the related Live at La Fenice that Manfred Eicher already has in the works... and we’ll never stop kicking ourselves…

Bouncing from the twin review on the homepage. Excellent excellent excellent. Even in the comments, there are some truly tasty bits.

In its brevity, a complete and heartfelt review. Much appreciated sempols, eventually.