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For the second time a GENUIN CD with Tobias Koch has been honoured by klassik.com with the “Editors’ Recommendation.” Alongside the complete works of Norbert Burgmüller, the CD contains works by his brother Ferdinand as well as the Marcia Funebre of Mendelssohn. Here are some excerpts from the CD critique:
“[…] Koch highly values an original, historical sound on all of his recordings. For the present recording he has therefore chosen two historical fortepianos from the collection at Kremsegg Castle in Austria. Both grand pianos have a close relationship to the compositions performed. […] Koch plays the selected compositions of Friedrich Burgmüller, on the other hand, on an Ignace Pleyel grand piano. These instruments were found in many Parisian salons of the period. It is clear from the careful selection of instruments how meticulously and with what detailed knowledge Koch approached his Burgmüller project. There is a man playing here who really knows what he is doing. The combination of the pieces as well, deliberately and carefully selected, is completely convincing. […] With a sensitive touch and full of feeling, Koch goes into great depth in his performances, revealing the great complexity of Burgmüller’s compositions. Moreover, he seems to possess an unerring sense for the right phrasing. In Norbert Burgmüller’s Sonata he impresses the listener with a highly refined kind of interpretation vacillating between pressing forward with great longing and deeply thought-out reflection. But he also gives Friedrich Burgmüller, often considered less talented, sufficient space for that composer’s somewhat superficial yet very pleasant pieces to unfold well without unmasking them.
For the second time a GENUIN CD with Tobias Koch has been honoured by klassik.com with the “Editors’ Recommendation.” Alongside the complete works of Norbert Burgmüller, the CD contains works by his brother Ferdinand as well as the Marcia Funebre of Mendelssohn. Here are some excerpts from the CD critique:
“[…] Koch highly values an original, historical sound on all of his recordings. For the present recording he has therefore chosen two historical fortepianos from the collection at Kremsegg Castle in Austria. Both grand pianos have a close relationship to the compositions performed. […] Koch plays the selected compositions of Friedrich Burgmüller, on the other hand, on an Ignace Pleyel grand piano. These instruments were found in many Parisian salons of the period. It is clear from the careful selection of instruments how meticulously and with what detailed knowledge Koch approached his Burgmüller project. There is a man playing here who really knows what he is doing. The combination of the pieces as well, deliberately and carefully selected, is completely convincing. […] With a sensitive touch and full of feeling, Koch goes into great depth in his performances, revealing the great complexity of Burgmüller’s compositions. Moreover, he seems to possess an unerring sense for the right phrasing. In Norbert Burgmüller’s Sonata he impresses the listener with a highly refined kind of interpretation vacillating between pressing forward with great longing and deeply thought-out reflection. But he also gives Friedrich Burgmüller, often considered less talented, sufficient space for that composer’s somewhat superficial yet very pleasant pieces to unfold well without unmasking them.