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Cleverly and effectively presenting music from Einstein on the Beach and Koyaanisqaatsi in his own arrangements, Batagov presents a homage to Glass’s operatic genius. Generally speaking, Batagov’s mode of delivery is perhaps more shaded than that of Nicholas Horvath, the envelope of expression extended in both directions. The recorded sound is on the thin side, which can detract but also imparts an almost bell-like quality (Batagov plays a Fazioli).Batagov finds great delicacy in the half-hour ‘Trial’ (not to be confused with Glass’s mini-opera on Kafka, The Trial) and in the process delivers a sometimes magical experience. From Koyaanisqaatsi, ‘Prophesies’ speaks with great power at lower dynamic ranges. Back to Einstein, and the playful ‘Night Train’ moves from frivolity to aggression; Batagov seems to find the latter fulfilling (one is reminded of his recordings of Mosolov). Finally, the slow-moving, monumental ‘Knee 5’ provides the perfect close.

COLIN CLARKE Read the full review on Agora Classica

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