The 'Ciclo Brasileiro' by Heitor Villa-Lobos begins with two impressionistic pieces, 'Plantio do caboclo' and 'Impressoes seresteiras'. Then the music does explode in a musical feast and a frenetic dance. With incredible virtuosity and impetuous drive Andreas Woyke ignites electrifying music on his piano that probably would scare the devil in hell.
But it does even get more dramatic in 'Rudepoema' (Wild poem, also Savage poem), the longest, most virtuoso and most complex piano solo piece by Villa-Lobos.
Marc-André Hamelin has recorded this work that has often been compared to Stravinsky's 'Sacre du Printemps' on a Hyperion CD in an immensly enthralling way, but Andreas Woyke does surpass him with a fascinatingly passionate, threateningly unrestrained and headily haunting performance.
The listener always gets the impression Woyke would truly have to take off with his piano and fly out of the hall with this incredible thrust.
The move to Alberto Ginastera does not give any rest to the pianist. The first movement of the Argentine's First Piano Sonata is thrillingly dramatic and Woyke plays it like in a trance. But that's nothing compared to the presto misterioso and its nervous driving force. Also Ginastera's Adagio is full of passion and eruptions. The movement is in good hands with Woyke, because he seemingly does use it like an elastic spring being wound up to provide slingshot power in the last movement, a Malambo dance. This also can be found in the first and last of the three 'Danzas Argentinas', while the middle dance is very tranquil and allows Woyke to show his sensitivity in finest nuances as well.
But again, the main feature of this SACD is the virtuoso, and Andreas Woyke faces this tour de force with incredible power and technical predominance, making the various pieces sound with an indescribably brilliant verve.
"Virtuosity is the main characteristic of this Villa-Lobos and Ginastera program, played with a peerless verve by Andreas Woyke" (Remy Franck)
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