Notes and Editorial Reviews
This selection is a Hybrid Multichannel Super Audio CD. The Stereo Hybrid SACD program can be played on any standard compact disc player. The DSD Surround and Stereo programs require an SACD player for playback.
Full Review from Fanfare Magazine:
Born in Zagreb in 1977, Dejan Laziæ is another of the talented young performers, like the cellist Pieter Wispelwey, devotedly championed by Jared Sacks on his Netherlands-based Channel Classics label. These two have, in fact, recorded together, and Wispelwey is listed as co-producer with Sacks for the current release. The results are equally impressive technically and musically. Production standards on Channel Classics are as high as you will find on any label, major, minor, or in between, and this warm, vibrant, and lucidly balanced multichannel super-audio recording is no exception.
Characteristic again of Channel is the contribution of an intelligent and illuminating program note by the pianist, though his remark, “What a refreshing change to the piano concerto as a genre, when we hear the piano make its first entrance with a completely new theme,” is surprising in light of the fact that Mozart did the same thing in several of his concertos. The misstatement can certainly be forgiven for the sake of Laziæ’s splendid performances of both late Haydn and early Beethoven. Clearly a virtuoso of the first order, his projection of two of Haydn’s greatest sonatas is marked by apparently effortless technique, a sure sense of style (with all repeats duly observed), a strong feeling for rhetoric (witness the pointed rhythmic nuancing of the E-flat Sonata’s opening theme), and, most valuable of all, a tigerish address that makes the music seem newly minted.
Beethoven’s Piano Concerto No. 2, which actually preceded No. 1 in order of composition, may not be music quite on the exalted level of those two Haydn masterpieces, but Laziæ makes it sound as if it were. He draws the most beguilingly pellucid tone from passages like the high-lying melodic line starting at measure 26 of the slow movement, and his fractional delaying of the sforzando second beat in measure 50 of the finale is an unusual and arresting application of the principle of agogics. In the first movement, he plays his own cadenza, which, if not totally coherent, is full of good ideas, and much less weird than the effusions Glenn Gould used to perpetrate in such contexts. As for his collaborators in the concerto, neither conductor Heribert Beissel nor the Klassische Philharmonie Bonn can perhaps lay claim to household names, but they acquit themselves with great credit. The muscular passages are all neatly turned; even more praiseworthy are such telling textural touches as the meticulous shaping of the horn parts at the start of the Adagio. I look forward to hearing more from all these fine artists. -BERNARD JACOBSON, FANFARE