Ravel Archive

Ray Chen – The Golden Age – Decca

Ray Chen – The Golden Age – Decca

The Golden Age—Ray Chen plays works by Kreisler, Bruch, Debussy, Gershwin, Scott, and others. Ray Chen (violin), Julien Quentin (piano), London Philharmonic Orchestra, dir. Robert Trevino; Made in Berlin (quartet)—Decca 483-3852—53:26, *****: The promise of music from the “Golden Age” of violinists—namely by the likes of violinists such as Kreisler, Heifetz, and Joachim and composers like Debussy, Satie, and Gershwin—is the theme behind this new release from Australian violinist Ray Chen. Decca does a superb job of capturing the music in full fidelity, especially so when the music is divided among three ensembles recorded in different locations: violin and piano, violin and orchestra, and string quartet. To my ears, it all sounds as if it was recorded during the same take in the same location. Despite the name of the album, the sound is not pushed behind a gauzy golden veil, but instead is lean and forward. Not every artist might appreciate the transparency of this sound, but it has the effect of putting us, the listeners, right in the front row. It’s really well done. The piece that might set you back into the Golden Age most forcibly is the performance of Debussy’s Clair de lune, which sounds straight […]

The Music Treasury for 1 July 2018 — Violinist Michael Rabin, Part 2

The Music Treasury for 1 July 2018 — Violinist Michael Rabin, Part 2 This week’s show can be heard between 19:00 and 21:00 PDT from its host station KZSU at Stanford University in the Bay Area on 1 July 2018, concurrently streamed at kzsu.stanford.edu.  As always, Dr Gary Lemco host the show. Michael Rabin, American Violinist We continue our tribute to Michael Rabin (1935-1972), whose stellar career became marred by bouts of mental illness (anxiety disorder) and possible drug abuse. His return to the active stage and concert work lasted only seven years, 1965-1972.  From public broadcasts and various tour appearances, we present some of the rare moments in his performance history not exemplified by his commercial recordings. Program: Paganini: Caprice No. 17 in E-flat (NBC, Voohees, 1950) Paganini: Caprice No. 9 (NYC 1970, WQXR) Wieniawski: Polonaise Brillante in D Major, Op. 4 (Sydney, 1952) Ravel: Tzigane (Sydney, 1952) Faure: Violin Sonata No. 1 in A Major, Op. 13 (Berlin, 1961) Falla (arr. Kreisler): Danse espagnole from La vida breve (BTH, Voorhees) Sarasate: Zigeunerweisen, Op. 20, No. 1 (1952, BTH, Voorhees) Massenet: Elegie (w/B. Sullivan, 1955) Mozart: Violin Concerto No. 4 in D Major, K. 218 (w/S. Caston, Denver Sarasate: […]

Ryan Keberle and Frank Woeste – Reverso-Suite Ravel – Phono Art

Ryan Keberle and Frank Woeste – Reverso-Suite Ravel – Phono Art

Modern jazz inspired by classicalism. Ryan Keberle and Frank Woeste – Reverso–Suite Ravel [TrackList follows] – Phono Art/Alternate Side, Ref Phonoart 001, 53:40 [2/9/18] ****: (Ryan Keberle – trombone, co-producer; Frank Woeste – piano, co-producer; Vincent Courtois – cello; Jeff Ballard – drums) Classical music and jazz have become intertwined over the decades, from Gershwin’s “Rhapsody in Blue” to Miles Davis’ 1960 LP Sketches of Spain (the opening piece is based on Spanish composer Joaquín Rodrigo’s Concierto de Aranjuez), as well as the Modern Jazz Quartet’s 1973 record Blues on Bach and many more examples. Trombonist Ryan Keberle and pianist Frank Woeste’s 53-minute Reverso – Suite Ravel is easily this year’s best classical/jazz hybrid project. The 11 tracks are primarily inspired by Ravel’s six-part solo piano suite “Le tombeau de Couperin,” written between 1914 and 1917. Keberle and Woeste do not recreate Ravel’s suite, rather they utilize the Baroque-inspired material as a starting place for their own compositions, six composed by Woeste, three by Keberle and two listed as collectively improvised. The music hints at Ravel and sometimes suggests Ravel’s underlying parameters. The CD liner notes reveal Ravel was no stranger to jazz. During a 1928 US tour, Ravel stated, […]

“Fantasia” = Violin works by RAUTAVAARA; SZYMANOWSKI; RAVEL – Anne Akiko Meyers, violin/Philharmonia Orchestra/Kristjan Jarvi – Avie Records 

“Fantasia” = Violin works by RAUTAVAARA; SZYMANOWSKI; RAVEL – Anne Akiko Meyers, violin/Philharmonia Orchestra/Kristjan Jarvi – Avie Records 

“Fantasia” = EINOJUHANI RAUTAVAARA: Fantasia; KAROL SZYMANOWSKI: Violin Concerto No. 1; MAURICE RAVEL: Tzigane – Anne Akiko Meyers, violin/Philharmonia Orchestra/Kristjan Jarvi – Avie Records AV2385, 48:16, (10/06/17) ****: A beautiful collection of mid-modern masterworks. Even if your only reason to acquire this beautiful and luxurious collection is out of curiosity for Rautavaara’s Fantasia for violin and orchestra then go get a copy—immediately. I admit that, for me, this was exactly my motivation and not due to curiosity. I have been a complete admirer of the late, great Finnish master’s music for over forty years and have never had an unfulfilling experience. Rautavaara’s music has always been a bit unique and hard to describe but for its lush, semi-Impressionistic orchestrations and beautiful slowly unfolding melodies. His early output was a bit more ‘post-Schoenberg’ and, while well-constructed and interesting though the early atonal stuff was, it is virtually all of Einojuhani’s output from the mid-1970s on for which he deserves to be remembered as one of the twentieth century’s great composers. The Fantasia was written in 2015 for Anne Akiko Meyers and is his last finished work, the composer having died in July, 2016. It is absolutely resplendent and evocative of the […]

RAVEL: Daphnis et Chloé; Pavane – Orchestre Philharmonique du Luxembourg/ Gustavo Gimeno – Pentatone

RAVEL: Daphnis et Chloé; Pavane – Orchestre Philharmonique du Luxembourg/ Gustavo Gimeno – Pentatone

RAVEL: Daphnis et Chloé (complete ballet); Une barque sur l’océan; Pavane pour une infante défunte – Orchestre Philharmonique du Luxembourg/ Gustavo Gimeno – Pentatone multichannel SACD PTC5186652, 72:35 [Distr. by Harmonia mundi] *****: A perfumed and utterly intoxicating reading of Ravel’s masterpiece. It was the Greek writer Longus, probably from around the 2nd century AD, that gave Maurice Ravel the inspiration for his widely-acclaimed—and some say greatest—masterpiece Daphnis et Chloé. The three-scene, one act “choreographic symphony” (as Ravel called it) was written for Serge Diaghilev’s Ballet Russes, surely one of the most luxuriant and hothouse scores ever set to paper. The exceptionally large orchestra provides the composer with multitudinous opportunities to show his extraordinary ability in orchestration, and he rarely lets us down, from music of subtlety and seduction to as rousing a final bacchanal as has ever been composed. The story itself is quite subjugated to the music, and sets itself up for the imagery and scents of the impressionist era rather than driving home any sort of musical storyline interpretation. Perhaps because of this, Ravel himself sensed that this hour-long work demanded resuscitation in the form of smaller suites to capture the concert hall imagination, and in fact […]

Ossy Renardy: The Complete Remington Recordings = PAGANINI: Caprices; FRANCK: Sonata in A Major; RAVEL: Violin Sonata No. 2 – Ossy Renardy, violin/ Eugene Helmer, piano/ Eugene List, piano – Pristine Audio

Ossy Renardy: The Complete Remington Recordings = PAGANINI: Caprices; FRANCK: Sonata in A Major; RAVEL: Violin Sonata No. 2 – Ossy Renardy, violin/ Eugene Helmer, piano/ Eugene List, piano – Pristine Audio

Ossy Renardy: The Complete Remington Recordings = PAGANINI: Caprices, Op. 1 (arr. F. David); FRANCK: Violin Sonata in A Major; RAVEL: Violin Sonata No. 2 in G Major – Ossy Renardy, violin/ Eugene Helmer, piano/ Eugene List, piano (Franck & Ravel) – Pristine Audio PACM 103 (2 CDs) TT: 1:49:22 [www.pristineclassical.com] ****: The short-lived Austrian violinist Ossy Renardy enjoys a fine restoration in his Remington legacy. The name of Viennese violin luminary Ossy Renardy (nee Oskar Reiss, 1920-1953) may invoke the image of a “fingerboard gymnast,” compelled to play spectacular showpieces and flamboyant repertory, but he had gleaned respect for his formidable technique and sensitive interpretations, often likened to his compatriot, Fritz Kreisler.  Renardy died in a car crash, only just having begun to reap the repute his hard work and commitment had earned. The decision to record the complete Paganini Caprices in the Ferdinand David edition, with (an anachronistic) piano accompaniment, comes as a result of Renardy’s having performed this version in 1940, and here again in 1953, for Don Gabor’s Remington label. Ruggiero Ricci would perform the pieces in their solo capacity—in 1947—but Renardy must have felt that the popular consensus would favor the “enriched” harmonization between him […]

RAVEL by Cluytens = Orchestral Retrospective – Samson Francois, piano/ Paris Conservatory Orch./ Andre Cluytens – Urania Arts

RAVEL by Cluytens = Orchestral Retrospective – Samson Francois, piano/ Paris Conservatory Orch./ Andre Cluytens – Urania Arts

RAVEL by Cluytens = Bolero; La Valse; Rapsodie espagnole; Valses nobles et sentimentales; Menuet antique; Pavane pour une Infante defunte; Le tombeau de Couperin; Ma mere l’oye – Suite; Alborada del gracioso; Une barque sur l’ocean; Piano Concerto for the Left Hand – Samson Francois, piano/ Paris Conservatory Orchestra/ Andre Cluytens – Urania Arts Stereo WS 121.268-2 (2 CDs) 73:26; 78:59 (11/2/16) [Distr. by Albany] ****: Urania selectively assembles the Ravel legacy of Belgian conductor Andre Cluytens, who made France his adoptive homeland. Given that Erato has issued a 65-CD retrospective on Belgian maestro Andre Cluytens (1905-1967), this Ravel set on Urania may relieve some of the fiscal (and storage) burdens of so extensive a collection. Cluytens and Samson Francois did record the G Major Concerto, but that you must seek on other sources, including the Erato set. At least one commentator has complained about both the Urania cover art – he calls it “pornographic” – and the price, so caveat emptor! The set opens with Cluytens’ 1961 rendition of the ever-effective Bolero, that amazing bit of “orchestration without music” (1927) that Ravel hoped would become the whistling staple of every Parisian pushcart owner. Having set a moderate tempo, the […]

RAVEL: Piano Concertos; FALLA: Nights in the Gardens of Spain – Steven Osborne (p.) /  BBC Scottish SO / Ludovic Morlot – Hyperion 

RAVEL: Piano Concertos; FALLA: Nights in the Gardens of Spain – Steven Osborne (p.) /  BBC Scottish SO / Ludovic Morlot – Hyperion 

RAVEL: Piano Concerto in G Major; Piano Concerto in D Major for the Left Hand; FALLA: Nights in the Gardens of Spain – Steven Osborne, piano/ BBC Scottish Symphony Orchestra/ Ludovic Morlot – Hyperion  CDA68148, 63:03 (6/2/17) [Distr. by Harmonia mundi/PIAS] ****: The French and Spanish virtuoso works recorded here by Steven Osborne vibrate with colossal energy. Steven Osborne (b. 1971) recorded the music of Ravel several years ago—2011—to considerable acclaim. Here (rec. 25-26 May 2016) with the able assistance of conductor Ludovic Morlot, Osborne delivers a sparkling rendition of the 1930 G Major Concerto that assimilates as much Gershwin into the heady mix as it does the occasional Basque motif that speaks to Ravel’s heritage.  Years ago, another British pianist, John Ogden, revealed a similar affinity for this jazzy, brilliant score – with the Atlanta Symphony Orchestra—and then literally dissolved from public view.  Osborne embraces the frisky and alternately lyrical aspects of the work without its flair and flamboyant bravura having become ostentatious. The second movement Adagio assai moves with grace and facile clarity that testifies to the composer’s mutual admiration of Mozart and Saint-Saëns. Whatever Liszt influences permeate the score appear in the wild last movement, Presto, rendered […]

Andrejs Osokins, Pianist = Piano works of BACH, HAYDN, BEETHOVEN, RAVEL, LISZT – Andrejs Osokins (p) – International Piano Forum

Andrejs Osokins, Pianist = Piano works of BACH, HAYDN, BEETHOVEN, RAVEL, LISZT – Andrejs Osokins (p) – International Piano Forum

Latvian piano virtuoso Andrejs Osokins makes a powerful impression in Romantic Music. Andrejs Osokins, Pianist = BACH: WTC, I: Prelude No. 8 in e-flat minor, BWV 853; Fugue in d-sharp minor, BWV 853; HAYDN: Piano Sonata No. 53 in e minor; BEETHOVEN: Piano Sonata No. 23 in f minor, Op. 57 “Appassionata”; RAVEL: Gaspard de la Nuit: Scarbo; LISZT: Annees de perelinage, II: Italy: Sonetto 104 del Petrarca; Apres une lecture de Dante: Fantasia quasi fantasia – Andrejs Osokins, piano – International Piano Forum, 75:00 [www.ipf-frankfurt.com] ****: Latvian pianist Andrejs Osokins (b. 1984) presents a program (rec. live 27 November 2015 at Kursaal Bad Cannstatt) that reflects his penchant for introspective, impassioned scores that here traverse the periods from the Baroque to the late Romantic. The Bach prelude – and its enharmonic fugue – set the tone for plaintive, arioso melancholy that will often reveal itself in other composers’ sensibilities. The resonant bass of Osokins’ Bechstein instrument enunciates low, chromatic threads of the Fugue in d-sharp, whose voices enter and lie upon each other in the manner of a sad motet. Later, the individual notes of the upper voice assume the character of a hopeful chorale. Conceived in the early […]

The Labéque Way (2017)

The Labéque Way (2017)

A wonderful documentary on probably the leading two-piano team in the classical world. The Labéque Way (2017) Cast: Katia & Marielle Labéque, Alessandro Baricco, Sir Simon Rattle, Semyon Bychkov Director: Félix Cabez Studio: EuroArts Music International 2064058 (3/3/17) Video: 1.33:1 for 16:9 screens, color Audio: English, PCM stereo No region code Extras: Complete performances of POULENC: Concerto for 2 Pianos & SAINT-SEANS: Carnival of the Animals for 2 Pianists & Orch. Length: 90 min. Rating: **** The New York Times says this is the best piano duo in front of an audience today, and the legendary piano duo of the Labéques is difficult to label, getting into avant-garde and flamenco as well as classical areas. They trace their Spanish roots with playing of Ravel’s Bolero, complete with a special percussion section of Basque origin. Their friends and collaborators appear in the film, as well as performances of works of Mozart, Schubert, Ravel, Albeniz, Golijov and Gershwin. The duo commissioned a new two-piano concerto especially for this film, Nazareno.  A truly delightful documentary and the sisters look and play as lovely as ever.  The mastering of ordinary DVDs has gotten so good that one would easily think this was a Blu-ray, […]

Tribute to Charles Munch – A Strasburger in Boston = Works of BERLIOZ, FRANCK, ST.-SAENS, ROUSSEL, DEBUSSY, FAURE, RAVEL – Praga Digitals

Tribute to Charles Munch – A Strasburger in Boston = Works of BERLIOZ, FRANCK, ST.-SAENS, ROUSSEL, DEBUSSY, FAURE, RAVEL – Praga Digitals

A generous sampling of the ‘Munch touch’ in Boston in the French music he championed.  Tribute to Charles Munch – A Strasburger in Boston = BERLIOZ: Romeo et Juliette Symphonie – Queen Mab Scherzo; FRANCK: Le Chasseur Maudit; SAINT-SAENS: La Princesse Jaune Overture, Op 30; Le Rouet d’Omphale. Op. 31; DEBUSSY: Fetes fr. Trois Nocturnes; FAURE: Penelope Prelude; RAVEL: La Valse; ROUSSEL: Suite in F Major – Boston Sym. Orch./ Charles Munch – Praga Digitals PRD 250 340, 80:17 (12/9/16) [Distr. by Harmonia mundi/PIAS] ****: The wizardry of Charles Munch and the Boston Symphony in French repertory finds eloquent representation on this extensive program, from various discs originally recorded 1951-1961 for RCA Victor. Particularly endearing, we have the 15 January 1951 recording of the Saint-Saens 1872 Overture La Princesse Jaune (on LM 1701), a one-act opera that utilizes pentatonic scales to suggest the courtly life of Japan in a dream-vision, although Netherlands provides the setting of the drama. The BSO achieves a lithe, entirely flexible vocal line and resplendently transparent hues, including an amazing bottom and top line in the full complement of strings.  No less brisk, the symphonic poem Le Rouet d’Omphale, (1871) invokes the mythological enslavement of Hercules […]

SAINT-SAENS: Piano Concerto No. 2; RAVEL: Piano Concerto; GERSHWIN: Second Rhapsody; MASSENET: Meditation – Andrew von Oeyen, p./ Prague Philharmonia/ Emmanuel Villaume – Warner Classics

SAINT-SAENS: Piano Concerto No. 2; RAVEL: Piano Concerto; GERSHWIN: Second Rhapsody; MASSENET: Meditation – Andrew von Oeyen, p./ Prague Philharmonia/ Emmanuel Villaume – Warner Classics

Pianist Andrew von Oeyen embraces his twin cultural loyalties with brilliant elan. SAINT-SAENS: Piano Concerto No. 2 in g minor, Op. 22; RAVEL: Piano Concerto in G Major; GERSHWIN: Second Rhapsody; MASSENET: Meditation from Thais (trans. Oeyen) – Andrew von Oeyen, p./ Prague Philharmonia/ Emmanuel Villaume – Warner Classics 019029508485, 66:05 (1/13/17) ****: Pianist Andrew von Oeyen (b. 1979) considers himself a Parisian-American, so little wonder that his debut album for Warner Classics (rec. 21-25 August 2015) embraces compositions – rather flashy and jazzy in their own respect – from both musical cultures. That Oeyen finds a natural, virtuoso vehicle in the 1868 Concerto No. 2 by Saint-Saens comes as little surprise – Andre Watts did much the same in early days when I heard him at Lewisohn Stadium in New York.  Oeyen plays with requisite strength and optimism, dashing through the Bach prelude evolves into a lovely theme attributed to Gabriel Faure. The breadth of musical line and the plastic contours from the orchestra suggest that the several Artur Rubinstein renditions of the work served as models for the present reading. The second movement Allegro scherzando relies much on Saint-Saens’ great fondness for the fourth of the Chopin scherzos. […]

STRAVINSKY: The Firebird; NIKOLAEV: The Sinewaveland – Homage to Jimi Hendrix – Seattle Sym. Orch./Ludovic Morlot – Seattle Symphony Media

STRAVINSKY: The Firebird; NIKOLAEV: The Sinewaveland – Homage to Jimi Hendrix – Seattle Sym. Orch./Ludovic Morlot – Seattle Symphony Media

A magnificent Firebird in state of the art CD sound. STRAVINSKY: The Firebird; NIKOLAEV: The Sinewaveland – Homage to Jimi Hendrix – Seattle Sym. Orch./Ludovic Morlot – Seattle Symphony Media SSM1014, 58:32 *****: This CD is another example of the superb recordings and performances that have become a signature of the Seattle Symphony’s recordings under the leadership of Ludovic Morlot. Their recent Mahler 10th Symphony, the three CDs surveying the orchestral works of Henri Dutilleux have defined the best in current audiophile technology and performance. There’s a vibrant immediacy and musical presence to their sound that vividly captures these live performances. Despite Igor Stravinsky’s (1882-1971) title as the apostle of modernism in his time, popularity of his output among audiences in the ensuing 50 years since his death has waned. But his three early ballets, and a few neoclassical pieces have stood the test of time. While much of Stravinsky’s music tends towards structural and stylistic innovations (pounding, irregular rhythms, pungent harmonies and musical disruption held together by persistent tempos), his three ballets (The Firebird, Petrushka, Rite of Spring) add memorable melodies, an element of fantasy and  orchestral brilliance that enchant contemporary audiences. The Firebird (1910) exists at the intersection […]

FRANCK: Sonata for v. & p.; Melancolie, Andantino quietoso; RAVEL: Sonata for v. & p. No. 2; Tzigane – Kirill Troussov, v./ Alexandra Troussova, p. – MD&G Recital

FRANCK: Sonata for v. & p.; Melancolie, Andantino quietoso; RAVEL: Sonata for v. & p. No. 2; Tzigane – Kirill Troussov, v./ Alexandra Troussova, p. – MD&G Recital

An excellent performance of Ravel & Franck violin & piano sonatas, plus extras. FRANCK: Sonata for violin & piano; Melancolie, Andantino quietoso Op. 6; RAVEL: Sonata for violin & piano No. 2; Tzigane – Kirill Troussov, v./ Alexandra Troussova, p. – MD&G Recital multichannel SACD 903 1984-6 (plus 2+2+2), 65:28 (Distr. by Naxos) [1/13/17] ****: A really wonderful violin and piano recital in hi-res surround. Troussove has a lovely sound on his violin and the German Steinway of Troussova’s sounds (built in 1901) excellent in this hi-res recital. And Troussov plays a 1702 Stradivarius on which Tchaikovsky’s Violin Concerto of 1881 had been performed. Troussova is the brother of Troussov, and both have performed thruout Europe at various concerts, and they have made many recording for the EMI Classics label. Franck was most important to French music during his lifetime, and strugged to promote French music after the French defeat in the Franco-Prussian War of 1871. He was the organist at various churches in Paris until his death and during the last decade or so of his life concentrated on chamber music, of which his Sonata for Violin and Piano is an example. Ravel intended his Violin Sonata in G […]

RAVEL: Miroirs; Gaspard de la Nuit; Pavane pour une infant defunte – Ragna Schirmer, p. – Belvedere

RAVEL: Miroirs; Gaspard de la Nuit; Pavane pour une infant defunte – Ragna Schirmer, p. – Belvedere

RAVEL: Miroirs; Gaspard de la Nuit; Pavane pour une infant defunte – Ragna Schirmer, p. – Belvedere 08002, 60:10 (11/4/16)  [Distr. by Naxos] ****: An excellent Ravel interpretation, though a strange cover.  Ragna Schirmer has won the highly regarded International Bach Competition in Leipzig twice and been the recipient of Germany’s top classical music award, the ECHO Klassik. Her tutors include Bernard Ringeisen in Paris, himself a student of Marguerite Long, friend and student of Maurice Ravel. She performs in prestigious concert halls of Europe, China and New Zealand, as well as at renowned music festivals such as the Heidelberger Frühling (artist in residence 2010), the Beethovenfest Bonn, the MDR-Musiksommer, the Haydn Festival Eisenstadt, and the Salzburg Festival. Ragna Schirmer is also active as a teacher. Having been appointed professor at the College of Music and Performing Arts in Mannheim at the age of 28, she has taught talented young pianists at the Musical Department of the “Latina August Hermann Francke“ in the city of Halle an der Saale since 2009.  The Ravel recording derives from sessions 8-10 January 2014 in Germany. The somewhat disturbing cover art for this CD – of pianist Schirmer’s fondling a puppet of Ravel – […]

“44 Waltzes on 88 Keys” – SCHUBERT: Valses Nobles; BRAHMS: 16 Waltzes; DVORAK: 8 Waltzes; RAVEL: Valses nobles et sentimentales – Peter Schaaf, p. – Schaaf

“44 Waltzes on 88 Keys” – SCHUBERT: Valses Nobles; BRAHMS: 16 Waltzes; DVORAK: 8 Waltzes; RAVEL: Valses nobles et sentimentales – Peter Schaaf, p. – Schaaf

Peter Schaaf bestows a natural affection of a series of Nineteenth-Century waltzes.  44 Waltzes on 88 Keys – SCHUBERT: Valses Nobles, D. 969; BRAHMS: 16 Waltzes, Op. 39; DVORAK: 8 Waltzes, Op. 54; RAVEL: Valses nobles et sentimentales – Peter Schaaf, p. – Schaaf SR 102, 72:29 [info@schaafrecords.com] ****: Peter Schaaf won the Kosciuszko Foundation’s Chopin Prize in 1961 and the Morris Loeb Prize from Juilliard in 1965. A student of iconic piano pedagogue Rosina Lhévinne, Schaaf performed with the St. Paul Chamber Orchestra, had a modest solo recital career, then went into accompanying and chamber music. He played many recitals with Yo-Yo Ma, including his New York recital debut in 1971. Schaaf also worked with Kyung-Wha Chung, Jean-Jacques Kantorow, Renata Tebaldi, and Jon Vickers, with whom he made a recording on the VAI label of Schubert’s Die Winterreise from a 1983 Toronto performance (VAIA 1007-2). For several years he led the Archduke Trio. Equally renowned for his photography work, Schaaf now feels the urge to record more keyboard repertory. The obvious addition to the standard “waltz repertory” comes in the form of the Dvorak Eight Waltzes, Op. 54, conceived somewhat abortively for a commission in 1879 for a grand […]