Though pianist Artur Pizarro's performances of the solo parts in Beethoven's Third, Fourth, and Fifth piano concertos are consistently superlative, it's not too much to say that the real draw here is not the soloist but the accompanists. Because as fine as Pizarro's virtuoso playing is, Charles Mackerras and the Scottish Chamber Orchestra turn in performances of such force, sensitivity, and balance that they may well be the finest accompaniments for these concertos ever recorded.

Pizarro's acclaimed second disc of Beethoven sonatas, beautifully played on a Blüthner piano. Beethoven's last three sonatas mark a culmination in the classical-romantic sonata form, and Beethoven's farewell to the genre. Pizarro explains: "Beethoven not only aesthetically and emotionally heralds the arrival of the Romantic Age in music but also profoundly alters what had been the accepted parameters of sonata form. Man has become the centre of the universe as can be heard through the outpouring of emotion, as human condition and the circle of human life is depicted in these three works.

Milhaud was an inveterate traveller who absorbed influences from many national styles.
The music here exudes infectious dance impulses, languid geniality, knockabout humour and joie de vivre. It may inhabit a limited expressive sphere, but providing you don't expect introspection or searching profundity you won't be disappointed. There's enjoyment at every turn, whether in the foot-tapping 'Brazileira', the Satie-esque simplicity of the 'Valse' from Lessonges, or the breezy music-hall atmosphere of Le boeuf sur le toit, with its wonderfully imaginative piano writing. The performances are exemplary.

This is the second and last volume of Naxos’s complete music for solo piano by Rodrigo. It is played by the superb Artur Pizarro. I was enthusiastic about Volume 1 a couple of years ago (see review), even chose it as one of my recordings of the year. I wasn’t alone in admiring it: both my colleagues Steve Arloff and Patrick Waller praised it and it was Editor’s choice in Gramophone. I have no reason to be less enthusiastic this time. Pizarro’s playing is certainly second to none, combining clarity with warmth and being unfailingly rhythmically alert.

Portuguese virtuoso Artur Pizarro makes a welcome return to the Romantic Piano Concerto series with the outpourings of two brilliant pianist-composers. Their names may not be familiar to listeners today. The Brazilian Henrique Oswald and the Portuguese Alfredo Napoleão were born in the same year, less than three months apart, when Schumann, Brahms and Liszt were alive and Chopin recently deceased. Both were of mixed European heritage: Oswald with a Swiss-German father and Italian mother, Napoleão with an Italian father and Portuguese mother. Both were child prodigies who became widely travelled concert pianists, pedagogues and composers. In 1868 Oswald gave his ‘farewell recital’ and left Rio de Janeiro to study in Europe; Napoleão went to Brazil.

Odradek Records is delighted to present the complete Beethoven Piano Concertos performed by Artur Pizarro and the Sinfonieorchester Wuppertal under the baton of Julia Jones. This is a recording not to be missed: Artur Pizarros interpretations are renowned internationally for their insight and nuance, and this album represents for Pizarro and his fellow musicians a very personal labour of love, especially when overcoming the obstacles of the pandemic in order to record together. The majesty, power and innovation of the Beethoven Piano Concertos is contrasted with a selection of solo pieces by Beethoven; Romances and Rondos that round off the release with irresistible intimacy. On this recording Artur Pizarro plays Bechstein grand pianos kindly provided by Bechstein. Artur Pizarro has recorded a series of highly-acclaimed albums with Odradek, including the complete Rachmaninov piano music, and Lebensreise, a disc of music by Robert Schumann, for which Pizarros playing was praised as: soft as velvet, but muscular and virtuoso if necessary technique and virtuosity are unconditionally at the service of the composers intentions (Klassiek Centraal). Pizarro also performed the Poulenc Piano Concerto with the Beethoven Philharmonie and Thomas Rsner on the album Couleurs, praised in Gramophone magazine: Pizarro seems delighted to meet the score on its own terms, turning in a performance of considerable sensitivity and subtlety.