Choir

Berezovsky pedals sparely, letting his sharply honed fingers do the work with eloquence and just the right force. The Rondo is a good example of how fanciful dynamic hairpins enhance rather than detract from Berezovsky’s stylish brio and continuity. The musicians take the Adagio’s “Un poco mosso” directive to heart. Many pianists understandably and effectively liberally stretch the right hand cantabiles for expressive purpose. Conversely, Berevozsky applies rubato discreetly and generates genuine tension, observing the phrase markings that begin and end between beats. [Jed Distler / ClassicsToday.com]