After a quick search, I could not find any information on an actual recital after 2019 (Taipei, Liszt Harmonies poetiques). So that may account for some his lack of visibility, yet his recordings continue apace (recently, Scarlatti and an intégrale of Milhaud concertos). The reviews of his recordings are accessible and appear on MusicWeb, but also discussed in great depth by Lynn René Bayley on her redoubtable blog (including an excellent analysis of these same Beethoven issue).
So we have a kind of paradox — a superlative pianist who doesn’t seem to appear in public at the moment and, yet, who seems to have a carte blanche to record with a smaller, but major label (cpo). How is this even economically possible? Any thoughts?
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