Catégorie : Review

The Wholenote Magazine (review) / LEKEU / FRANCK / BOULANGER

Terry Robbins, The Wholenote Magazine /

There’s another performance of the Franck Violin Sonata on a new CD featuring works by Lekeu, Franck and Boulanger from the Montreal violinist Frédéric Bednarz and pianist Natsuki Hiratsuka (Metis Islands Music MIM-0006).

Guillaume Lekeu and Lili Boulanger (Nadia’s younger sister) both died at the tragically young age of 24. Lekeu’s Sonata in G Major is a fine three-movement work, with its long violin lines and agitated piano in the outer movements somewhat reminiscent of the Franck, which was written just six years earlier. Bednarz’s beautiful sweetness of tone is evident right from the start.

Boulanger was always in fragile health, and her works often seem to display her awareness of her condition. Nocturne is a simply lovely and delightful piece, again perfectly suited to Bednarz’s sweet tone. The Franck Sonata is the centrepiece of the CD, and again it’s the tonal quality……

La Scena Musicale (review) / LEKEU / FRANCK / BOULANGER

6 ÉTOILES !  ★ ★ ★ ★ ★ ★

” Un must pour les amateurs de musique de chambre”.

Eric Champagne / La Scena Musicale

Les chambristes Frédéric Bednarz au violon et Natsuki Hiratsuka au piano ont concocté un album des plus divins! Le programme tout français regroupe deux sonates majeures du répertoire, celles de Lekeu et de Franck, ainsi qu’un petit nocturne de Lili Boulanger et le tout est interprété avec une finesse et un sens musical exquis. De la sonate de Guillaume Lekeu, l’oeuvre la plus connue de ce compositeur un peu oublié, voire négligé, les musiciens proposent une interprétation fluide et mouvante. Le caractère est toujours juste, le phrasé respire l’intimité et la tendresse, et la parfaite complicité des musiciens transparaît dans les moindres détails de cette charmante partition. La sonate de César Franck est ici abordée avec une aisance dans la tension et de l’émotion, tout en……

Fanfare (review) / LEKEU / FRANCK / BOULANGER

“Bednarz and Hiratsuka are well on their way to establishing themselves as a formidable violin and piano duo. Highly recommended”.

Jerry Dubins, Fanfare

Here is an interesting program which avoids the routine by pairing the over-familiar Franck Violin Sonata with the very much less often heard sonata by Guillaume Lekeu and the almost never heard Nocturne by Lili Boulanger. At least once told—perhaps twice—is the story of my first encounter with Lekeu’s sonata on a mid-1950s RCA LP, performed by Yehudi Menuhin and Marcel Gazelle. The piece struck me as a “wanderer’s fantasy” if ever there was one, as I kept an impatient eye on the turntable arm slowly making its way across the grooves and wondering, not when, but if it would ever end. Lekeu may have lived to be only 24 (1870–1894) and to have composed fewer than 30 works during his short lifespan, but not a few of them,……


Robert Maxham, Fanfare / Fanfare

Violinist Frédéric Bednarz and pianist Natsuki Hiratsuka open the first movement of Karol Szymanowski’s early Violin Sonata with a commanding shot, and they maintain the level it sets as the movement proceeds. Bednarz proves himself capable of deploying a wide variety of violinistic effects, from the elusively shimmery to the soaringly declamatory. And that palette fits Szymanowski’s work to perfection. Hiratsuka’s a sympathetic partner, exploring in collaboration with him the composer’s colorful harmonies and lush melodies. She evinces a special sensitivity to the haunting sonorities that open the second movement; the duo brings a fey magic to the pizzicato middle section and returns to the opening section with an eerie reminiscence of Frédéric Chopin. They communicate the agitated state of the finale’s opening and rise to the emotional richness of the middle section. If Szymanowski’s sonata hasn’t yet penetrated the standard repertoire, Bednarz and Hiratsuka……


Terry Robbins, The Wholenote Magazine /

The Montreal-born violinist Frederic Bednarz is joined by his wife, pianist Natsuki
Hiratsuka, in a CD of Sonatas for violin and piano by Szymanowski and Shostakovich (Metis Islands Music MIM-0004 metisislands. com). Karol Szymanowski’s Sonata in D Minor, Op.9, is an early work from 1904; it’s a traditional late-Romantic piece with more than a passing reference to the Franck sonata, and is given a clear, thoughtful reading by both players.

The Shostakovich Sonata Op.134 is, by contrast, a late work, written in 1968 for David Oistrakh’s 60th birthday; as with so much late Shostakovich, it never seems to shake that all-pervasive sense of nervous apprehension, desolation and loss of hope. Again, the playing is sensitive and clear, with a particularly effective Largo, the third and final movement which is almost as long as the first two movements put together. There could perhaps……


Richard Whitehouse / Gramophone U.K.

These works, from either end of their composers’ output, make for an unlikely yet effective pairing. Szymanowski’s Violin Sonata (1909) is often seen as a product of the period when he was still in thrall to German late-Romanticism, yet echoes of Fauré, Franck and Enescu make its ‘French’ provenance the more tangible. Frédéric Bednarz and Natsuki Hiratsuka bring flexibility to the rhetoric of its initial Allegro, then underline the plaintiveness of the Andantino as well as the resolve of the finale when it builds to its decisive close: the piece emerging as formally more cohesive and expressively less wayward than is often the case.

Where Szymanowski luxuriates, Shostakovich ruminates: the latter’s Violin Sonata (1968) has often seemed among the most forbidding of his later works and it is to these performers’ credit that the speculative dialogue of the opening Moderato feels not in the least arid……


Edward Bhesania, The Strad /

Young Montreal-born violinist Frédéric Bednarz and pianist Natsuki Hiratsuka make a strong impression in contrasting the late-Romantic style of early Szymanowski with the dark, sparse territory of late Shostakovich. Comparing the disc’s first and last tracks emphasizes the contrast. Szymanowski’s Allegro moderato has Romantic grandeur, which Bednarz conveys with flair..

In  Shostakovich’s slow, searching passacaglia, Bednarz maintains a sense of gravitas as well as enigma. Together with Hiratsuka, he creates a powerful atmosphere around the often arid soundscape. The second movement is a devil’s dance, here relatively unsneering but still effective, and technically assured.

Bednarz brings a gorgeous tone to Szymanowski’s lyrical slow movement, the high-lying writing drawing sustained sweetness. In this movement and the next, Hiratsuka’s neat handling of the often dense texture is key. The disc’s trayless digipack presentation means that there are scant notes on the works or artists, but the recording itself is clear……


La Scena Musicale /

Violinist Frédéric Bednarz has been a ubiquitous presence in Montreal’s chamber music community for many years. Now a member of the Molinari String Quartet, he has also begun of late to turn his attention to the violin and piano duo repertoire, aided and abetted by Natsuki Hiratsuka, a pianist of great skill and sensitivity. Together, they offer up mesmerizing performances of Dmitri Shostakovich’s great violin sonata, and the less well-known, but fascinating and beautiful late-romantic sonata by Karol Szymanowski.

Bednarz has a warm, round, almost sweet sound, but he is not afraid to get his hands dirty. There are moments in the Shostakovich that are absolutely searing, all the more so because of the strength and intensity of Hiratsuka’s pianism, and the duo’s……


Album Review: Le Mystère Des Trois Jours from Claude Marc Bourget
Christ’s Resurrection Set to Virtual Violins and Piano

Susan Frances, Yahoo Contributor Network
May 25, 2014

Le Mystère des Trois Jours (The Mystery of the Three Days) from Claude Marc Bourget is a 3-track CD that showcases Bourget’s prowess as a masterful pianist and programmer of virtual violins in addition to being an effective narrator. His compositions have an ambient coloring with choral-tinged passages that pervade a Gothic tint. Each composition represents a specific movement, telling the story of Christ’s resurrection through music. “Premier Jour” (First Day) symbolizes Christ’s death. “Deuxième Jour” (Second Day) reflects the transformation process. The last track “Troisième Jour” (Third Day) characterizes Christ’s resurrection. Inspired by the Biblical story, the music shows reverence for the miracle and provides sonic vignettes depicting the three stages of the evolution.

The compositions have a meditative-slant bringing together the orchestral……

Musical Toronto (review) / KAROL SZYMANOWSKI, SONATA OP.9

Album review: Molinari Quartet’s Frédéric Bednarz digs deep in Szymanowski sonata

Montreal-based violinist Frédéric Bednarz, a member of the Molinari Quartet since 2007, has poured his heart, soul and considerable technique into the classical equivalent of an EP, featuring the 1904 Violin Sonata, Op. 9, by Polish composer Karol Szymanowski (1882-1937).

Elegantly accompanied by his wife, Natsuki Hiratsuka, Bednarz’s forceful interpretation of this thematically and harmonically rich music compels attention.

Themes are laid out with great care. Bednarz’s phrasing is impeccable. Best of all, he and Hiratsuka are true partners in dialogue.

Szymanovski’s sonata has the sound and development of something César Franck would have written, yet it’s hardly ever heard. Bednarz is doing his level best to make sure this changes.

(Musical Toronto) / Read the review by John Terauds.



05/14/12   REVIEW   
JAZZ TIMES, USA, by Susan Frances


Classical pianist Claude Marc Bourget plays a new role on his latest recording Noviaus Tanz from Metis Islands Production as a programmer and arranger of the virtual violin and virtual double bass. Coupling electronic music with the acoustic ethers of cellist Pierre Alain Bouvrette and violinist Frederic Bednarz, Bourget creates elevating raptures and extemporaneous ripples that focus the mind and stimulate calmness through the soul.

The harmonies are melodically organized and arranged to flow with a natural elegance. Silky textured strings open “Ferments” coiled in winding cello rings. The verses roam with a vivacious spontaneity projecting orchestral arcs spruced by branches of improvisational sprigs. The broad, hushed strokes of “Cadences” alternate between light and heavy pressured notes while the crisp stride of “Signes” is garnished in ballerina-like twirls, lifts and jetes. The instruments transmute a lead……