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Simon Trpčeski, Cristian Măcelaru, WDR Sinfonieorchester – Brahms: Piano Concertos (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:35:09 minutes | 1,48 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Linn Records
This eagerly-awaited new release sees Simon Trpceski reunite with conductor Cristian Macelaru to record Brahms Piano Concertos. Their unrivalled chemistry, paramount in Brahms’s chamber-like concertos, is on full display in these new performances which puts the two artists’ musical affinity in the spotlight. These two contrasting concertos, one beginning in darkness, the other in light, mark Brahms’s major contribution to the genre. With Trpceski’s flawless technique and sensitive playing, pianophiles are in for a treat. Macelaru’s orchestra, WDR Sinfonieorchester, joins the pair to complete the line-up; a perfect companion to their previous album, Shostakovich Piano Concertos, which garnered numerous accolades (BBC Music Magazine Concerto Choice, Le Choix de France Musique, among others).
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Simon Trpčeski – Mozart, Beethoven and Brahms: Variations (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:09 minutes | 955 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Linn Records
Following his ‘glorious’ Shostakovich concertos recording which was named a BBC Music Magazine Concerto Choice, Simon Trpčeski releases his first solo piano album for Linn.
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Simon Trpčeski – Friendship (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 57:56 minutes | 1006 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Linn Records
Pianist Simon Trpčeski’s latest album Friendship is celebratory and open-hearted.
Friendship comes out of a strong sense of belief, stemming from his country’s struggle throughout the age, his love for music, his faith in humanity’s inner strength and, above all, his friends and colleagues who made this recording happen. Mirroring this confidence-embracing approach, the neatly curated repertoire includes Brahms’s fiery Piano Quartet No. 3 in C minor, a work full of love, power and boldness. Connesson’s jaw-dropping Divertimento is presented in a fantastic newly available arrangement by percussionist Vlatko Nushev. And sandwiched between the two, Pande Shahov’s three-movement Quintet ends in a triumphant manner.
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Eldbjørg Hemsing & Simon Trpčeski – Grieg: Violin Sonatas (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:29 minutes | 1,24 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BIS
Following acclaimed recordings of concertos by Dvořák and Shostakovich, by Tan Dun and Josef Suk, the Norwegian violinist Eldbjørg Hemsing returns to her roots in this Grieg recital, joined by Simon Trpčeski at the piano. Each of Edvard Grieg’s violin sonatas marks a decisive phase in the composer’s artistic development. He completed the F major Sonata at the age of 22, while still trying to break free from the heady influences he had received during his training at the Leipzig conservatory. The work still bears the stamp of German romanticism, but it also includes references to Norwegian folk dances and Hardanger fiddle techniques, features that were perceived as ‘a breath of fresh air’ when the work was premièred.
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Simon Trpčeski, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko – Prokofiev: Piano Concertos Nos. 1 & 3 (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 52:29 minutes | 910 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PM Classics Ltd.
The chief draw on this release by Simon Trpceski is the Piano Concerto No. 1 in D flat major, Op. 10, composed while Sergey Prokofiev was still a student in St. Petersburg. Prokofiev thought highly enough of the work to premiere it in Moscow himself, and indeed it’s a student work of the best kind, brash and overflowing with confidence. Consider and sample the broad opening and, after about a minute, the angular music, a kind of second theme, seems as though it comes from an entirely different composition and dares you to imagine how it can be integrated with the opening. Prokofiev goes on to do just that, of course, and it was music like this that antagonized conservative listeners and, in an age when such antagonism was box office gold, did much to propel Prokofiev’s early career. In its broader outlines the work is not so dissimilar to the better-known Piano Concerto No. 3 in C major, Op. 26, one of the peaks of Prokofiev’s neoclassic output. The performances by Trpceski and the Royal Liverpool Philharmonic Orchestra under Vasily Petrenko are very strong, capturing the exuberance of the Piano Concerto No. 1 and delivering a crowd-pleasing, sparkling Third with no hint of the mordant quality many attach to the work. The Overture on Hebrew Themes, Op. 34bis, is a fine, little-known entr-acte. A crowd-pleasing Prokofiev release.
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