Reger / Ysaye / Bentsson - Bentsson Plays Reger & Ysaye - COMPACT DISCS [CD]

Hans Rosbaud - Symphony 5 in B Flat Major [COMPACT DISCS] date 06/24/2003

On this Boris Brovtsyn presents Ysaye Sonatas as well as Ysaye's Etude Posthume which was published after the composer's death, and is receiving here it's world premiere recording. Boris Brovtsyn has established himself as one of the most profound and versatile musicians of his generation. He is in ever-increasing demand all around the world as both concerto soloist and chamber musician. His repertoire includes over fifty violin concertos and hundreds of chamber works, some of which he premiered. He is a frequent guest at InchLes Grands InterpretesInch chamber music series in Geneva and Spectrum Concerts Berlin, where he has appeared in every season since 2008. A fourth-generation musician, Boris started to play violin under the guidance of his grandfather, a student of Lev Tzeitlin and Abram Yampolsky. After graduating from the Moscow Tchaikovsky Conservatory where he studied with Maya Glezarova, Boris made his UK debut with the BBC Philharmonic conducted by Rumon Gamba and soon relocated to London. He completed his studies with David Takeno at the Guildhall School of Music and Drama, and has taught there himself from 2010 until 2016. In addition to the professorship at the GSMD, he also chaired a class at the Trinity College of Music in Greenwich and has given masterclasses all around the world, including South Korea, Thailand and Brazil.

In this album, Sergey Khachatryan presents the first recording of Ysaye's 6 Solo Sonatas Op.27 on the composer's Guarneri del Gesù violin - a magnificent, hypnotic instrument! Ysaye's Op. 27 is not new to Sergey Khachatryan, who has been giving the cycle in concert for a long time. Today aged thirty- eight, and the precocious First Prize Winner of the International Sibelius Competition in 2000 and the Queen Elisabeth Competition in 2005, the Armenian violinist here once more demonstrates his radiant maturity, along the same lines as he did in his sumptuous recording, so personal, of Bach's Sonatas and Partitas (naive, 2008-2009, V 5181). Here Sergey Khachatryan delivers an interpretation of heightened feelings, where what might otherwise come across as impish is deliberately turned into something fierce (the Prelude of Sonata No. 2, which uses the opening motif of Bach's Partita No. 3), or that which is merely imitative becomes wild and relentless (the Finale of Sonata No. 4). He wilfully emphasises the popular inspiration underlying the complete collection, here replete with shadings and a sumptuousness previously unheard.