CD Album reviews
Classical Music Magazines
June 2025 ∙ British Gramophone ∙ Rob Cowan
Jörg Demus · The Dresden Concerts 1962-1972
Jörg Demus most reminds me of is Edwin Fischer, especially when performing Bach. I especially enjoyed the 1972 Dresden recording of the First Partita included here. This double-pack of Demus’s Dresden concert tours also includes some fiery Schumann including the Concerto under Kirill Kondrashin, Sonata No 2 in G minor, the Toccata, the Études symphoniques and a sequence of encores announced by the pianist including an impulsive Intermezzo from Faschingsschwank aus Wien and other works. I was also impressed by the grandeur he brings to Franck’s Prélude, chorale et fugue. All of these Meloclassic sets are superbly transferred and annotated.
June 2025 ∙ British Gramophone ∙ Rob Cowan
Samson François ∙ Concert Tours 1956-1962
Samson François is far better known on disc than Mildner, having recorded extensively for what’s now the Warner Classics group. Some live and radio studio recordings have appeared, the latest from Meloclassic including Études and Préludes by Debussy (‘Le fille aux cheveux de lin’ and ‘La cathédrale engloutie’ are especially memorable) and a Fauré group, including three Nocturnes superbly played. There are also three concertos, Liszt’s First given a flamboyant performance in Geneva under Hans Schmidt-Isserstedt in 1962, Schumann’s Concerto (where Rudolf Michl conducts in Saarbrücken in 1956. More striking is Chopin’s First Concerto taken from a 1962 live Luxembourg performance, where Carl Melles conducts.I’ve never heard a broadcast recording of him playing it, I’m resorting to guesswork. A most interesting set nonetheless. All of these Meloclassic sets are superbly transferred and annotated
May 2025 ∙ British Gramophone ∙ Rob Cowan
Tibor Varga · Early Radio Recordings
Hungarian-born Tibor Varga certainly had something to communicate about everything he played, as is amply illustrated by Meloclassic’s excellent (and very well refurbished) double album of ‘Early Radio Recordings’. Performances of concertos by Tchaikovsky (under Carl Garaguly, 1954) and Mendelssohn (Eliahu Inbal, 1970), treat virtuosity as side play but are in the main feelingly interpreted and lyrical. The unexpected highlight of the set is a 1957 studio recording of Alban Berg’s Concerto with the Cologne Radio Symphony Orchestra under Georg Solti, as much for Solti’s approach to the score as for Varga’s. I don’t think I’ve ever heard a recording of the Berg that is more moving than this, even if the orchestra isn’t exactly topnotch. Other music on the set includes showpieces by Sarasate, Ravel, SaintSaëns and, perhaps best among them, a stunning unaccompanied live recording of Kreisler’s Variations on a Theme of Corelli. Recommended, and not just for curious fiddle buffs.
May 2025 ∙ British Gramophone ∙ Rob Cowan
Heinz Stanske · Rediscovery of a Violinist
If Tibor Varga is a name remembered only by a select coterie of connoisseurs, Berlin-born Heinz Stanske (1909-92) is, as Meloclassic bills him, more a ‘rediscovery’, who became concertmaster for the UFA-Tonfilm Orchester in Berlin. And his sound? ‘Of his day’, I’d say, without being especially distinctive, even occasionally a little nervy, though exciting in fast passagework – and there are some concerto highlights that are well worth hearing.
March 2025 ∙ British Gramophone ∙ Rob Cowan
Aline van Barentzen ∙ Radio Archives Edition
Meloclassic’s handsome and extremely wellannotated ‘Radio Archives Edition’ brings together numerous concerto recordings including an outgoing Emperor under Louis Frémaux, impassioned but unfussy accounts of Tchaikovsky’s First, Rachmaninov’s Second and the Scriabin Concerto, some superb Schumann (including the Symphonic Studies, Faschingsschwank aus Wien, the Op 12 Fantasiestücke and Op 23 Nachtstücke), not to forget sensitively voiced Debussy and Ravel and much more. Van Barentzen was a remarkably assured player, intelligent and fully in tune with her chosen repertoire. If Meloclassic could locate more of her broadcasts we would be very much in its debt. Lynn Ludwig’s audio restorations are beyond reproach.
December 2024 ∙ British Gramophone ∙ Rob Cowan
Edith Peinemann ∙ Radio Archives Edition
Melo Classic’s nine-CD collection is a mixture of studio and live radio recordings taken down between 1957 and 1990, with superb notes by Christof Honecker and first-rate audio restoration by the set’s producer, Lynn Ludwig. Peinemann was a musician through and through, something that repeatedly registers during the course of these nine mostly marvellous CDs.
December 2024 ∙ British Gramophone ∙ Rob Cowan
Alexander Brailowsky ∙ Live Concert Performances in Europe
Turn to Melo Classic’s set of ‘Live Concert Performances in Europe’ and you understand the origins of Brailowsky’s high reputation. OK, Liszt’s Totentanz might occasionally fall off track, but the performance nonetheless generates levels of excitement that few others even approach. Likewise Tchaikovsky’s B flat minor Concerto fires off machine-gun octaves and the finale of Rachmaninov’s Second Concerto alternates great breadth (the opening) with lightning speed (the finale’s fugato), while also claiming a level of eloquence (especially in the slow movement) that at times recalls Moiseiwitsch, even Rachmaninov himself. The transfers are first-rate throughout. Strongly recommended.
October 2024 ∙ British Gramophone ∙ Rob Cowan
Max Rostal ∙ Concert Tours 1956-1965
Melo Classic’s collection of Rostal’s concert tours is so valuable. These are engaging, spontaneous-sounding performances that if widely heard could well spark off a renaissance of interest in Rostal’s other recordings, studio and live.
June 2024 ∙ British Gramophone ∙ Rob Cowan
Wilhelm Kempff ∙ Live Concert Edition ∙ 9CD Box
Virtually everywhere you turn in Melo Classic’s often revelatory live collection, whether in the Beethoven concertos (all five are included) or Mozart (try the dramatic account of the G minor Piano Quartet with the Amadeus Quartet or the gentle ‘rocking horse’ finale to K595), subtleties abound. Other concertos featured include the Brahms D minor, where Kempff’s DG mono recording under Franz Konwitschny
is noticeably swifter (in the first two movements) than the version under Rögner included by Melo Classic. Also by Brahms, the First Piano Trio, a memorably insightful Prades Festival recording with Sándor Végh and Pablo Casals, various Brahms solo piano pieces including a grandly rolling G minor Rhapsody, Op 79 No 2, Beethoven’s last cello sonata, again with Casals, and his last violin sonata with Végh. All these Prades sessions are musical mellowness incarnate, like seasoned wood and not to be heard elsewhere on disc, not even in Music and Arts’ two big boxes of Prades recordings.
August 2022 ∙ British Gramophone ∙ Rob Cowan
Mikhail Waiman ∙ Concerts In East Germany 1950-1963
Ukrainian violin magic. A 1957 radio studio recording of Tchaikovsky’s Concerto with the Berlin RSO under Rolf Kleinert certainly reports a sensitive temperament and sweet, tremulous tone as well as a markedly individual approach to phrasing. The same ‘twofer’ also contains a lyrical yet lively Mozart Turkish Concerto as well as a markedly Khachaturian-like Violin Concerto (1949) by the Russian composer Aleksi Machavariani (under Franz Konwitschny, 1951), which Waiman plays with brilliance and panache. There’s also some exceptional Bach, the E major Concerto, where Karl Eliasberg can be heard groaning away at the head of Leipzig’s Radio Symphony. A marvellous set.
July 2022 ∙ French Classica ∙ Michel Le Naour
Christian Ferras ∙ Concert Tours in Europe 1961-1974
Le label Meloclassic poursuit son exploration de documents rares et propose deux publications consacrées à Christian Ferras qui contribuent à la connaissance de son art. En tournées en Europe dans les années 1960 et 1970, le violoniste français témoigne ici de la variété d’un répertoire très vaste. D’une vocalité à couper le souffle (Concerto de Mendelssohn à Cologne, en 1964), fervent (Poème de Chausson et Tzigane de Ravel avec l’Orchestre de l’ORTF dirigé par Jean-Claude Hartemann, en 1969), élégant et expressif (Symphonie espagnole de Lalo au Luxembourg avec Louis de Froment, en 1961), il se révèle vibrant (Concerto n° 4 de Mozart, en 1968). Au rang des curiosités, la pièce Danubiana du ravélien Robert de Fragny (créée à Besançon en 1964) et un bouleversant Concerto de Schoenberg (à Graz, en 1974), dont il n’a jamais laissé de trace au disque. (Choc de Classica)
Christian Ferras ∙ Violin Recitals in Germany 1953-1965
Avec Pierre Barbizet en récital en Allemagne en 1959 ou en studio en 1953, la Sonate « Le Printemps » de Beethoven, la Sonate n° 2 de Schumann ou Tzigane de Ravel sont soulevés par un élan communicatif. Quant à la Sonate n° 3 d’Enesco, elle constitue un inédit à marquer d’une pierre blanche. La sensibilité lumineuse du violoniste se marie au timbre vif-argent et à la force vitale du pianiste.
July 2022 ∙ French Diapason ∙ Jean-Michel Molkhou
Christian Ferras ∙ Violin Recitals in Germany 1953-1965
Ces deux nouveaux volumes de documents puisés par Meloclassic dans les archives des radios européennes enrichissent significativement la discographie de Christian Ferras, qui mit fin à ses jours voici tout juste quarante ans. Le premier réunit un ensemble d’enregistrements de sonates, d’excellente qualité sonore et tous inédits. Aux côtés de Pierre Barbizet, exemplaire partenaire dune vie, on retrouve le jeune Christian dans de vigoureuses interprétations de trois sonates de Beethoven (dont un « Printemps» d’une poignante tendresse), une 2e de Schumann enflamnmée, et une 3e de son vénéré maitre Enesco, dune bouleversante authenticité. A peine âgé de vingt ans, il révèle déjà toute la richesse de son àme comme une spectaculaire virtuosité dans une version très personnelle de Tzigane. Une lecture à la fois robuste et pleine de charme de la Sonatine no 3 de Schubert, totalement nouvelle dans sa discographie, ainsi qu’une vision intensément habitée de la Sonate no 2 de Bartok, dont il na laissé aucune gravure officielle, complètent ce passionnant double album.
Christian Ferras ∙ Concert Tours in Europe 1961-1974
Le second volume le tait entendre, avec orchestre cette tois, à une époque un peu plus tardive. Des bandes radio le montrent dans un répertoire qui lui était cher, en offrant une intéressante alternative à ses gravures officielles. Dans la Symphonie espagnole de Lalo (sans I’Intermezzo), le Concerto op. 64 de Mendelssohn, le Poème de Chausson ou Tzigane de Ravel, sous la baguette de différents chefs (Froment, Lescovic ou Hartemann), on reconnait partout sa vibrante sonorité, ses suaves portamentos, sa généreuse inspiration, comme son formidable instinct. L’apport le plus significatif à sa discographie tient en des live qui, outre un Concerto no 4 de Mozart dont on lui connais sait déjà plusieurs versions, le mettent en scène dans deux oeuvres nouvelles. La première, Danubiana de Robert Proton de la Chapelle alias Robert de Fragny) dont cêtait la création mondiale à Besançon ce 9 septembre 1964, prouve l’admiration que le compositeur – chef d’entreprise, et même écrivain ou homme politique à ses heures – portait à Ravel, comme aux valses viennoises. La seconde, le Concerto op. 36 de Schönberg, fut captée par la Radio autrichienne à Graz, en octobre 1974, période où Ferras cherchait à élargir son répertoire. Dans cette vision éminemment lyrique dune oeuvre fort complexe, le violoniste, déjà en proie à quelques démons, démontre une maitrise éclatante et une riche qualité dinspiration. Superbe hommage enrichi de nombreuses photographies et d’excellents textes de présentation (en anglais seulement).
July 2022 ∙ British Gramophone ∙ Rob Cowan ∙ Vintage piano magic
Frieda Kwast-Hodapp ∙ German Radio Recordings 1948 ∙ 2CD
A remarkable 1948 live recording of Reger’s Piano Concerto by the work’s dedicatee, Frieda Kwast-Hodapp. The Reger is preceded on disc 2 of Meloclassic’s revelatory double-pack by a RIAS studio recording of Beethoven’s Hammerklaviersonata (also 1948), which, although occasionally smudged in terms of detail, features a richly emotional, even Schnabelian account of the Adagio sostenuto. Disc 1 consists of 18 of Scriabin’s 24 Preludes, Op 11, miniatures by Reger and Fortner and a selection from both books of Bach’s ’48’. And to think that Kwast-Hodapp only made one commerical disc recording, an Electrola 78 of works by Bach and Scarlatti.
Julius Katchen ∙ Piano Recitals 1946-1965 ∙ 2CD
The gifted American left us numerous recordings, principally for Decca, though some live tapes survive, including the ‘Piano Recitals 1946-1965’ that appear on another recent Meloclassic double-pack. Disc 1 opens, with a deeply considered account of Beethoven’s Op 26 Sonata. Op 109 is equally memorable, especially the rhapsodic first movement. Schubert’s B flat Sonata features a first movement not dissimilar to Horowitz’s at Carnegie Hall prior to his sabbatical, but come the Andante sostenuto and you can barely breathe: such intensity! The same set also includes a fiery live account of Schumann’s Études Symphoniques as well as memorable readings of Bach’s Second Partita and various shorter works.
Edith Farnadi ∙ Piano Recitals 1966-1968
Another charismatic performance is Liszt’s First Mephisto Waltz, which is especially propulsive in the hands of Budapest-born Edith Farnadi, playing that has a Cziffra-like demonism about it. The Gounod-Liszt Faust Waltz that follows is crisp and elegant, and there’s a Chopin sequence, including a somewhat reckless Fantaisie-impromptu and a taut Second Scherzo, its opening an abrupt call to arms. One or two minor mishaps aside, it’s both thrilling and thoughtful, as is the account of Brahms’s Second Sonata that concludes the programme.
Halina Czerny-Stefańska ∙ Concert Tours in Germany 1958-1971 ∙ 2CD
Chopin’s First Concerto with Czerny-Stefańska include a 1971 version with the Berlin RSO under Rolf Kleinert, recently released by Meloclassic. Here as before, poise and elastic phrasing are prominent virtues. The same desirable double-pack also includes dramatic accounts of Liszt’s E flat Concerto from 1964 (Heinz Fricke), Grieg’s A minor from 1962 (Otakar Trhlik) and Mendelssohn’s G minor from 1963 (Hans Schmidt-lsserstedt). The deal is completed, with stylishly performed solo pieces by Chopin, Rameau, Scarlatti and
Roman Maciejewski.
May 2022 ∙ L’Obs ∙ Philippe Cassard
Christian Ferras ∙ Concert Tours in Europe 1961-1974
Alors qu’il nous a quittés voici quarante ans, Christian Ferras (1933-1982) continue d’illuminer, tel un soleil, la planète violonistique. Le label Melo Classic édite des documents d’un intérêt exceptionnel : un double album de récitals avec le fidèle Pierre Barbizet, un autre de concerts avec orchestre. J’ignorais que Ferras avait joué le «Concerto » de Schoenberg: il lui rend son âpre lyrisme. «Tzigane » de Ravel transcendant, concerto de Mendelssohn sidérant de grâce et de verve, «Symphonie espagnole » de Lalo magistrale, mais presque austère, enfin, le plus poignant « Poème » de Chausson depuis Ginette Neveu: 155 minutes d’émerveillement continu.
October 2021 ∙ French Diapason ∙ Laurent Muraro
Piano mania ∙ Review of eight piano albums
Le prophète Wilhelm Kempff semble quant à lui toujours flotter au-dessus des eaux dans deux récitals captés à Besançon et Saint-Malo en son âge d’or (1955 et 1961). Du Forgeron de Handel aux Intermezzos du vieux Brahms, tout est marqué du sceau du beau chant et de l’évidence (2 CD, Diapason d’or).
May 2021 ∙ British Gramophone ∙ Rob Cowan
Stefan Askenase Piano Recitals in Germany 1952-1968
Askenase revelations: There will doubtless be cause for considerable excitement within the ranks of Stefan Askenase’s many admirers when they discover Melo Classic’s collection of German piano recitals. These feature much music that is not otherwise available in the pianist’s discography. All in all, then, this excellent and nicely recorded recital extends our knowledge of a major pianistic figure from the relatively recent past. I’d certainly recommend you investigate further.
Daniil Shafran Concert Tours in Germany 1957-1973
Shafran at his best: This particular programme includes a taut, lyrical and assured account of the Dvorák Concerto with the Berlin Radio Symphony Orchestra under Carl von Garaguly. After Dvorák comes Kabalevsky, his appealing First Concerto conducted by the composer. As to works with piano (Anton Ginsburg), Britten’s Sonata is dazzling, while Franck’s Sonata is charged with feeling, and Prokofiev’s Sonata witnesses, at the start of its finale, a veritable flood of glorious tone. So does the Serenata from Stravinsky’s Suite italienne, another wonderful performance. All the duo sonatas are offered in stereo. Fabulous!
April 2021 ∙ French Diapason ∙ Jean-Michel Molkhou
Daniil Shafran Concert Tours in Germany 1957-1973
La publication de ces bandes allemandes vient donc opportunément rappeler le talent, la virtuosité et la beauté du son de ce violoncelliste parmi les plus fabuleux du siècle passé. Un récital donné le 24 mai 1973 au Schwetzingen-Schloss, aux côtés de son fidèle partenaire Anton Ginsburg (ancien élève de Heinrich Neuhaus), en constitue l’essentiel. Deux archives radio est-berlinoises plus anciennes permettent de retrouver Shafran dans deux concertos.
April 2021 ∙ British Gramophone ∙ Rob Cowan
Christian Ferras ∙ Hamburg Recitals ∙ 2CD
Melo Classic has recently curated two admirable Christian Ferras double-packs, one chronicling performances with pianist Pierre Barbizet, opening with an account of Debussy’s Sonata (1951) that is far more playfully seductive than the version this duo recorded for Warner Classics some years later. Also included, two Mozart sonatas (K454 and 305), sonatas by Fauré (No 1) and Franck, Milhaud’s Le boeuf sur le toit and a whole host of shorter pieces. As to the Beethoven Concerto, most listeners will know Ferras’s rendering primarily through his sleek 1967 DG recording with the BPO under Karajan. Turn to Ferras in 1954 with the Stuttgart RSO under Hans Müller-Kray and you enter a different world, the tone riper, the overall approach livelier and more robust. Similar observations re Karajan and earlier Ferras recordings on Melo Classic apply to concertos by Brahms (NDR SO/Schmidt-Isserstedt) and Tchaikovsky (Stuttgart RSO/Müller-Kray), where tempos are again swifter than they later became, Ferras’s approach more candidly emotional.
Pina Carmirelli Concerto recordings 1963 ∙ 1967
Pina Carmirelli, best known as a chamber-music player, who although less the virtuoso than Ferras captures Prokofiev’s fantastical, sardonic world without sacrificing any of its magic. In this she is aided and abetted by excellent stereo sound (1967) and by the SWR SO under Ernest Bour, who liberate more detail from the score than virtually any of their rivals, past or present, commercially recorded or otherwise. The coupling for Carmirelli’s Prokofiev is a Beromünster Brahms Concerto from 1963 (mono) under Erich Schmid, who cues a secure opening tutti leading to a less than remarkable first entry by Carmirelli, though things improve dramatically. By the time she reaches Joachim’s cadenza and an outstandingly memorable slow movement, things have improved dramatically.
Poldi Mildner Piano Recitals in Germany 1955-1959:
Melo Classic’s CD of Poldi Mildner’s 1955-59 German piano recitals landed on my mat. Here is a pianist to reckon with and make no mistake; the reckless, wild temperament, the dynamism, tonal power, dazzling finger velocity and overall virtuosity beyond measure, all dispatched at such amazing speeds, even though, inevitably given such breathless abandon, there’s the occasional stumble. All I can say is that, having treated us to two such magnificent tasters, maybe Melo Classic could search out other Mildner tapes. The sound is perfectly acceptable.
March 2021 ∙ French Diapason ∙ Jean-Michel Molkhou
Christian Ferras ∙ Hamburg Recitals ∙ 2CD
Ce sont des inédits, puisés dans les archives de la Radio de Hambourg, que réunit ce généreux double album consacré à Christian Ferras, donnant à entendre le grand violoniste français en son âge d’or. En compagnie de Pierre Barbizet, son inséparable partenaire. Agrémentés d’une notice fort documentée et de quelques rares photos d’époque, ces enregistrements reproduits à partir des masters originaux, raviront tous les admirateurs de l’une des personnalités violonistiques les plus fascinantes du XXe siècle et du plus fusionnel des duos français.
March 2021 ∙ British Gramophone ∙ Rob Cowan
Legendary Soviet Pianists in East Germany 1953-1960
Four rather less celebrated figures brought together by Melo Classic also warrant the attention of discerning listeners. Tatyana Goldfarb (who died aged 49 in 1964) makes an especially lyrical statement of the principal second subject of Tchaikovsky’s First Concerto (Berlin RSO / Franz Konwitschny, 1955) whereas Nina Yemelyanova (1912-98) enjoys a soaring accompaniment for Rachmaninov’s Third Concerto, a memorable 1953 Berlin recording under Hermann Abendroth, the performance outgoing and energetic. All these performances repay repeated listening and the transfers are immaculate.
Hans Richter-Haaser Piano Recitals in Germany 1948-1970
I enjoyed this set enormously. It sent me back to the pianist’s equally distinctive commercial recordings. Could there be further broadcasts available, I wonder? If so, I’d love to hear them. As usual with this label, the transfers are exemplary and so are the annotations.
John Ogdon The Ludwigsburg Recital in 1967
This is Ogdon at his formidable best; and if there’s any more available from the same source, let’s be having it. Good sound.
January 2021 ∙ British Gramophone ∙ Rob Cowan
Legendary French Pianists · Monique Haas · Madeleine de Valmalète
These memorably stylish performances find Monique Haas a model of elegance. But perhaps the main attraction is a fine musician who made even fewer recordings than Haas: Madeleine de Valmalete, a prize-winning pianist who impressed the likes of Faure and Ravel.
May 2020 ∙ French Diapason ∙ Jean-Michel Molkhou
Legendary French Violinists · Janine Andrade · Jeanne Gautier
Deux violonistes françaises tombées dans l’oubli, Jeanne Gautier (1898-1974) et Janine Andrade (1918-1997) se partagent un volume réunissant des oeuvres dont elles n’ont laissé aucune trace au disque.
Legendary Concertmasters of the Berlin Philharmonic ∙ Michel Schwalbé ∙ Hugo Kolberg
Un double album rend un généreux hommage à deux légendaires violons solos de l’Orchestre philharmonique de Berlin, Hugo Kolberg et Michel Schwalbé.
April 2020 ∙ French Diapason ∙ Jean-Michel Molkhou
Ossy Renardy plays Violin Concertos 1939-1945
Trois live new-yorkais permettent de retrouver le violoniste Ossy Renardy (1920-1953), de son vrainom Oskar Reiss, fauché à trente ans dans un accident de voiture. On admire un spectaculaire goût du risque, un style vibrant et une étincelante technique qui témoignent d’une forte personnalité.
Erick Friedman Live Performances in France 1965-1968
Un des rares disciples de Jascha Heifetz, Erick Friedman (1939-2004), a droit à un double album exhumant deux concerts et un récital captés sur le vif en France, dans d’excellentes conditions.
Johanna Martzy Swiss Radio Broadcast Recordings 1947-1969
Joanna Martzy (1924-1979), grande figure de la tradition hongroise, est célébrée par des enregistrements suisses. L’album dévoile le finale du Concerto no 4 de Mozart, pris sur le vif Iors du Concours de Genève 1947 où elle s’imposa. Dotée d’un vibrato intense typique de l’école Hubay, mais aussi d’une technique immaculée (Hora staccato de Dinicu/Heifetz), comme d’une irrésistible sensualité (Piéce en forme de habanera de Ravel, 4 Pièces de Suk) elle captive de bout en bout dans un récital donné quelques mois plus tôt. En 1969 à Zurich, on retrouve intact son style vibrant et généreux dans un Concerto no 1 de Bruch où l’artiste démontre une fougue et un engagement de tous les instants.
Tibor De Machula German Radio Broadcast Recordings 1944-1952
C’est d’abord comme violoncelle solo des Berliner Philharmoniker choisi par Furtwängler, que se fit connaitre à partir de 1936 Tibor de Machula (1912-1982). Quatre archives radio allemandes documentent ses apparitions solistes. L’élégance des phrasés, la clarté du style et son aisance naturelle confirment partout la noblessede son art.
February 2020 ∙ French Diapason ∙ Bertrand Boissard
Meloclassic poursuit son exploration de bandes radio inédites de pianistes illustres et pour certains oubliés.
February 2020 ∙ French Classica ∙ Jean-Charles Hoffelé
Meloclassic propose, dans de bonnes conditions techniques, des enregistrements historiques rares de pianistes connus ou à redécouvrir. Une mine pour les curieux.
December 2019 ∙ British Gramophone ∙ Rob Cowan
The latest trawl of radio recordings from Melo Classic is typically eclectic and revelatory. This is a fabulous bundle of discs.