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Barto; Tzimon

  • CD From Hell: Tzimon Barto’s Schubert Impromtus

    There’s nothing remotely “Impromptu” about Tzimon Barto’s Schubert Impromptus, where nearly every phrase is vulgarly over-articulated, over-stressed, dynamically exaggerated, and underlined in multi-colored ink, as…

    Jed Distler

  • Turkey From the Ninth Circle of Hell: Barto Batters Brahms

    It would take hundreds of thousands of words to categorically […] To access this content you must login to your Insider account, or purchase a…

    Jed Distler

  • Ives’ Concord Via Barto’s “Neo-Impressionist” Fingers

    Given Tzimon Barto’s penchant for interpretive mayhem on disc, I approached his recording of Charles Ives’ Concord Sonata with trepidation. As it happens, Barto turns…

    Jed Distler

  • CD From Hell: Barto’s Goldberg Variations–Calculated Polish and High Camp

    Before discussing Tzimon Barto’s Goldberg Variations “after the adaption of […] To access this content you must login to your Insider account, or purchase a…

    Jed Distler

  • CD From Hell: Barto’s Odious Ravel

    Tzimon Barto may not be the most odious Ravel pianist […] To access this content you must login to your Insider account, or purchase a…

    Jed Distler

  • REMEMBERING JFK: 50TH ANNIVERSARY CONCERT

    Whether or not you want this souvenir disc depends on how you feel about the concept. On the plus side, the “bonus disc” is in…

    David Hurwitz

  • UNEXPECTED ENCOUNTERS

    Next to his horrifically mannered Rameau and Ravel releases, Tzimon Barto’s Haydn comes off comparably normal, although bad taste still prevails in this excellently engineered…

    Jed Distler

  • A BASKET OF WILD STRAWBERRIES

    When playing Rameau, Tzimon Barto pares the keyboard writing’s decorative surface down to its melodic essence, downplays its dance roots, and basically uses the text…

    Jed Distler

  • Ravel: Gaspard for Orchestra

    This somewhat uneven disc has one important thing going for it: the best performance is also the thing most worth having–specifically, Marius Constant’s marvelous orchestration…

    David Hurwitz

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