Diana Boyle – Brahms Piano Works
$12.00 – $15.00
This album focuses on Intermezzi and Capriccios from Brahms’s very late period – Op. 76 and Op. 116-119. All of these pieces are true ‘Songs without Words’ though not titled as such, and are reserved, rather intimate works, never ‘flashy’ or virtuosic for the sake of virtuosity. They carry a strong sense of mood or inner feeling that mere titles could not convey.
Diana Boyle is a fine pianist who records little but prepares each recording with years of thought, consideration and meditation on the music. Her interpretations are individual and thought-provoking, often delicate, not always conforming to the norm which pianists of lesser talent will follow, but looking to breathe new life and spirit into classic masterpieces.
Like all of Boyle’s work this is a very carefully prepared and well crafted performance, an excellent addition to the library of recordings of this work.
The second of our new digital-only ‘Intangible Classics’ series and of the Diana Boyle edition; these works by Brahms remain much less familiar to many than his Songs without Words and Hungarian Dances, but are pinnacles of the Romantic piano repertoire. Though recorded in 1994, this recording is as fresh as today and was previously on Integra Records (CD).
- Intermezzo in E major, Op. 116 No. 4 (5:26)
- Intermezzo in A major, Op. 76 No. 6 (4:22)
- Intermezzo in A minor, Op. 76 No. 7 (3:09)
- Capriccio in C sharp minor, Op. 76 No. 5 (4:27)
- Intermezzo in A minor, Op. 118 No. 1 (2:31)
- Intermezzo in C sharp minor, Op. 117 No. 3 (6:27)
- Intermezzo in A flat major, Op. 76 No. 3 (2:14)
- Intermezzo in E flat minor, Op. 118 No. 6 (6:24)
- Intermezzo in B flat major, Op. 76 No. 4 (2:49)
- Intermezzo in B flat minor, Op. 117 No. 2 (4:38)
- Intermezzo in E flat major, Op. 117 No. 1 (5:26)
- Intermezzo in E minor, Op. 119 No. 2 (5:11)
- Intermezzo in B minor, Op. 119 No. 1 (4:19)
- Capriccio in C major, Op. 76 No. 8 (4:26)
The key feature of the English pianist’s approach is more evident instability which pushes the balance towards the Romantic rather than the Classical. Boyle uses this ‘instability’ to invest the works with a patina of pathos and transforming them into a recipe of sound in which the lines of a past tradition from Mozart through Beethoven come through.” —Andrea Bedetti