by Daniel Hathaway
The 
In Cleveland, Isserlis built his program around both of Brahms’s sonatas, separated by Liszt’s own arrangements of early songs and prefaced by Bartók’s First Rhapsody and Busoni’s Finnish folk song variations. In Oberlin, he drew back the curtains on what could have been a typical chamber music concert in Paris during the Belle époque — that brief cultural golden age between the 1870s and the first World War — including two out-of-period works that fit right into the spirit of the occasion. [Read more…]






