Category Archives: Reviews

Gramophone Review

Gramophone Review of Pianist Steven Masi

Laurence Vittes    October 11, 2013

Vol. 1 beginning with an op. 28 which invests Beethoven’s rich episodic scheming with a deeply moving emotional vulnerability. Masi appropriately abandons the spacious structures which work so effectively in Op. 28 in order to explore the hedonistic wilds of op. 79, a performance highlighted by numerous touches such as the delicious grace notes at the end of the first movement and a nearly motionless beauty in the second. Continue reading Gramophone Review

Classical Music Sentinel ESSENTIAL RECORDINGS

Classical Music Sentinel Review of Pianist Steven Masi

Jean-Yves Duperron    August 16, 2013 

“I don’t know about you, but sometimes, after listening to certain recordings of Beethoven sonatas interpreted by world-renowned pianists, sponsored by large corporations, and released on major, well-established labels, I come away with a feeling that I’ve just been taken for a ride. By that I mean that I get the impression that the recordings have been digitally manipulated. Just like a photograph of an aging celebrity has been air-brushed or given the “photoshop” treatment to make them seem younger and look much better than they do naturally, some of these recordings simply sound too good to be true. Each and every note is in perfect dynamic balance and rhythmic value with each other, and the capture of the acoustic space around the instrument is always perfect. Continue reading Classical Music Sentinel ESSENTIAL RECORDINGS

Harris Goldsmith Review

Harris Goldsmith Review of Pianist Steven Masi

“What I find particularly distinctive and impressive about the performances on this compact disc is that Masi’s interpretive style is refreshingly single minded and seemingly far removed from what many typically expect from an “in your face” objective modern American philosophy: The first few bars of the “so-called” Pastoral Sonata, Op. 28 unfold with a serene, patient deliberation that immediately (for this seasoned listener) recall the unhurried, cameolike intimacy of Wilhelm Kempff: The remaining three movements have gratifying detail, many subtleties of nuance and tempo plasticity (within a firm basic pulse)…

And in many ways, Masi’s version of the Op. 101 Sonata is the most distinctive of all. The Alla Marcia second movement has exemplary clarity of voicing, and buoyant rhythmic firmness especially. And the work’s total architecture is ironclad and organic.”