Jorge Federico Osorio, “an imaginative interpreter with a powerful technique (The New York Times), deftly pairs Brahms’s final solo piano works with those by Schubert for an inventive program of richly satisfying works that capture the essence of each composer’s towering individuality.
Internationally admired concert pianist Jorge Federico Osorio, praised by The New York Times for "the sweep and freshness of his readings," offers a riveting and richly pictorial recital on his first-ever recording of Russian masterworks for solo piano. Mussorgsky's original piano setting of his popular Pictures at an Exhibition anchors an absorbing program that includes Prokofiev's Sixth Sonata and Romeo and Juliet Before Parting, plus Shostakovich's Prelude and Fugue No. 24 in D minor.
This 3-disc Box Set comprises the first complete recording of all of Liszt's 2-piano versions of his 12 symphonic poems from the Weimar period (1848-61)
Cedille Records' inaugural artist, Dmitry Paperno, a major Soviet-era pianist and one of the "last living musical giants" (Bloomsbury Review) of a golden age of Russian concert artists, is heard on this comprehensive retrospective playlist
Rarely heard in concert or on disc, 20th-century Mexican composer Carlos Chávez’s spectacular Piano Concerto, completed in 1940, receives an insightful and compelling performance from Mexican-born pianist Jorge Federico Osorio, with his native country’s flagship orchestra, the Orquestra Sinfónica Nacional de Mexico and its music director, the dynamic young conductor Carlos Miguel Prieto.
Mexican-born, European-trained pianist Jorge Federico Osorio has been hailed by the Los Angeles Times as "one of the more elegant and accomplished pianists on the planet" and a performer who "always brings new insights, eloquent readings, and an effortless virtuosity all his assignments." A New York Times concert review praised his "considerable imagination for subtle timbres and vivid characterization" and said "the sweep and freshness of his readings made his performances impossible to resist."
This new CD of piano music by the widely celebrated American composer John Corigliano (b. 1938) includes the world premiere recording of Winging It (2008), an improvisation-based piece written for the eminent American pianist Ursula Oppens, who also gave the work its concert premiere.
This is an inspired pairing 20th-century French works for duo piano composed during the century’s greatest conflicts: Olivier Messiaen’s Visions de l’Amen (Visions of Amen) and Claude Debussy’s En blanc et noir (In Black and White). On other recordings, Visions de l’Amen typically appears alone or as part of an all-Messiaen program.
Cedille Records celebrates composer Elliott Carter's 100th birthday (December 11) with Oppens Plays Carter, the only fully-complete CD survey of Carter's solo piano works, including two world premieres, performed by one of his leading interpreters - American pianist Ursula Oppens.
When pianist Jorge Federico Osorio gave a recital in New York's Lincoln Center earlier this year, The New York Times praised his "considerable imagination for subtle timbres and vivid characterizations" in works of Debussy and his "beautifully articulated" and "explosively virtuosic" readings of Liszt.
Celebrated Mexican-born pianist Jorge Federico Osorio showcases solo piano works by his countryman, Manuel Ponce (1882-1948), who revolutionized Mexican music by fusing indigenous native and Spanish sounds with European classical forms.
"10/10 -- This splendid recital adds up to more than the sum of its various parts. At 78 minutes it's also a very good deal. Jorge Federico Osorio knows this music as well as any pianist alive, and his performances bespeak the wisdom of maturity with no loss of freshness or spontaneity.... There's poetry aplenty, but also bravura. Sonically this recording strikes me as ideal. In short, what you hear is what Osorio does, and what he does is pretty terrific." -- ClassicsToday.com
"The first words that came to my mind after listening to these lovely miniature pieces were 'modest, unassuming, profound.' ...Grab this CD, because you're not going to have these kinds of venerable masters around forever. Highly recommended." (Fanfare)
The five pieces on this disc -- all original works for two pianos or piano duet -- sound distinctly American. While this statement is undeniable, it begs the question: What constitutes a distinctly American sound? The composers represented here employ very different compositional styles and harmonic languages. How then can they all be uniquely "American" in their sound?
American Works for Organ and Orchestra offers a sonic extravaganza of neglected masterpieces by noted American composers. Here are four works that showcase the spectacular sonority of full organ combined with large symphonic ensemble.
Franz Liszt's most familiar works -- six of his Hungarian Rhapsodies -- are best known in their original solo piano versions and Liszt's orchestrations. Pianists Georgia & Louise Mangos, two "first-rate Lisztians" (Fanfare), perform Liszt's rarely heard duet versions (one piano, four-hands), possible the only CD ever of the duets. To those who sniff at piano transcriptions as "reductions," recording producer Jim Ginsburg points out that these Rhapsodies are actually "enlargements" of Liszt's original solo piano versions.
There's a joke about a tourist in New York who asks a passerby how to get to Carnegie Hall. "Practice, practice, practice," he's told. During the 1970s and '80s, the answer could also have been, "Emigrate from Russia." With numbing regularity, another Russian emigre "sensation" would fly into New York on the wings of hope, only to fall off the cultural radar soon after.
Scarlatti on Fortepiano sheds new light on Domenico Scarlatti's keyboard sonatas and the early piano, or "fortepiano," of the composer's own time. The fortepiano, available to Scarlatti (1685-1757) in the royal palaces of Spain, was part of his sonic world. Yet the many Scarlatti sonata recordings on the market typically employ harpsichord or modern piano.
American composer and pianist Easley Blackwood continues to branch out in attractive new directions. On this CD, Blackwood Plays Blackwood, he performs world premiere recordings of his own recent piano compositions. Challenging to perform yet easy to listen to, these new works blend traditional forms with inventive harmonies.
Within a 24-hour period in late 1975, pianist Dmitry Paperno's distinguished profile in the Soviet music world rose sharply and then disappeared. No sooner had Melodiya, the state record label, released Paperno's fourth solo album then the Moscow-trained musician notified officials of his intentions to emigrate to the West, effectively ending his two-decade career as a major Soviet concert and recording artist.
This is the final volume in our historic collection of Liszt's own two-piano versions of his 12 symphonic poems from the Weimar period (1848-61). The 3-disc series comprises the first complete recording of these works, most of which had disappeared from the repertoire by the turn of the century.
Padre Antonio Soler's six quintets for harpsichord and string quartet are post-Baroque masterstrokes, blending Baroque and early Classical styles with a savory seasoning of Spanish folk music.
The world premiere recordings of two contrasting piano concertos by major 20th-century American composers with ties to the Midwest present what presidential campaigners might call a bridge to the past and a bridge to the future. Here, listeners don't have to choose between the two.
One look at the garbage-bedecked piano on the cover of Radical Piano and you know this isn't "Dinner Classics." Yet this survey of early modernism is far from an assault on anyone's aesthetic sensibilities. Pianist and composer Easley Blackwood performs a novel program of modernist masterpieces from the first half of the 20th century -- nearly 75 minutes of music by modernist icons, as well as composers best known for conventional lyricism, such as Copland, Nielsen, and Prokofiev. Most of the works have rarely, if ever, been recorded.
Pianist Dmitry Paperno is delighted when an observer notes similarities between the disciplined power and passion of his playing and the music of Chopin. "It's my approach to music in general and Chopin in particular," he says.