Vue lecture

In Search of Youkali album review – Katie Bray is outstanding in this voyage around Weill

9 janvier 2026 à 08:00

Bray/Vann/Grainger/Schofield
(Chandos)
The easy fluency of Bray and pianist William Vann guides us through familiar and less well known Kurt Weill songs with the haunting Youkali as the lodestar on our journey

Youkali, for Kurt Weill, was the land of desires, promised but never to be attained – a strong image for an exiled and itinerant composer. The 1935 song in which he captured the idea, a lilting tango, forms the lodestar of Katie Bray’s voyage through Weill’s chameleonic songwriting career, undertaken alongside the pianist William Vann, accordionist Murray Grainger and double bassist Marianne Schofield, the latter moonlighting from the Hermes Experiment.

First, we hear a haunting, unaccompanied musing on the Youkali melody, then more of these punctuate the programme until we reach the song in full at the end. The journey takes in numbers in German, French and English – some familiar, some not – including a couple of songs written for the Huckleberry Finn musical Weill was working on at the time of his death.

Eric Lu: Schubert Impromptus album review – mature and mesmerising

The Guardian

Par :Erica Jeal

8 janvier 2026 à 16:00

(Warner)
In this recording of the eight Impromptus, some of Schubert’s most profound music, Lu cements his place as a serious talent

Eric Lu was a worthy if controversial winner of the Chopin international piano competition in October, having won the Leeds event seven years ago: how many springboards should one pianist seek? What is certain is that this latest Schubert recording, following on from his release of the late sonatas late in 2022, reveals a rewardingly mature, un-egotistical approach to the eight Impromptus, some of the composer’s most profound music.

Lu is very much attuned to the way in which Schubert creates overarching structures, conjuring a mesmerising feeling of stasis with music that’s alive with detail under the surface – in his performances of several of them, time really does seem to stand still. Right from the lonely opening of Op 90 No 1, he draws the ear in with the scope of his phrasing: even though his playing can be weightier than some, his lines go on and on into the distance and corners are smoothly turned, with the dramatic passages growing out of what has come before. Perhaps these performances aren’t yet quite distinctive enough to make this recording top choice in a crowded field, but they certainly back up the Chopin judges’ decision: Lu is a serious talent.