"Benjamin Hochman stands out for both the acuity of his programming and (…) these scrupulously careful interpretations, which make the most of his subtle timbral palette and keen ear for texture. He artfully brings out the aesthetic overlaps among these works." – Gramophone

"How marvelous for me to hear 'Shadowlines' played with such intensity and understanding, and in such an extraordinary context" -George Benjamin

"This new album by Benjamin Hochman, imaginatively juxtaposes two Beethoven sonatas with earlier as well as more recent works... The last movement [of Op. 110] is perhaps the highlight of the album, the various tempos never dragging, the doleful Arioso supported by
tender pulsations in the left hand, the fugues perfectly paced, the voices ideally balanced and the build-up to the final page riveting." - International Piano

"This was a concert not to be missed, yet if you missed it, then the new CD published by Avie will offer a deeper psychological presentation of Beethoven than any other recording available. In my opinion, these two Beethoven recordings are now the definitive standard" – The Millbrook Independent (New York Bard recital)

“Benjamin Hochman sets a high standard with his creative music selection on Resonance … a soundtrack for challenging times, something to listen to for perspective, clarity, and gratitude … Resonance is as provocative as it is informative. It does what every well-conceived project does, makes you want to hear more” – Wild Mercury Rhythm

In his late piano sonatas, Beethoven created music of extraordinary originality, simultaneously looking far into the future and far into the past. Pianist Benjamin Hochman pays homage to this Janus-faced aspect with the inclusion of two works from the Renaissance alongside Shadowlines from 2001.

As Hochman writes: ‘Beethoven achieves a kind of timelessness, stretching to the limit what music can say. He looks far into the future by striving for ever richer sounds, conceiving powerfully original musical ideas, and building masterful musical structures. He looks far into the past by integrating traditional forms such as variations and fugue, reflecting earlier musical styles, even quoting fleeting musical motives from Bach. But most of all, he transcends any particular era by exploring emotions both primal and sublime.’

The first Renaissance piece is the motet Ave Christe, attributed to Josquin de Prez, the Franco-Flemish composer frequently compared to Beethoven by virtue of his wide-ranging impact. Hochman plays a piano transcription made in 1988 by American composer Charles Wuorinen.

Flow, my tears – the lamenting melody that best represents the signature melancholia of the English Renaissance figure John Dowland – originated as a solo lute song and was published under the title Lachrimae in 1596. Its popularity led to a plethora of arrangements around Europe, including the one Hochman has chosen by Dowland’s elder contemporary, William Byrd.

The album’s most recently composed music is Shadowlines, a set of six preludes written by Sir George Benjamin. It uses a variety of canonic techniques that unfold subliminally, echoes concealed by echoes. Benjamin follows Beethoven’s cue in repurposing old techniques – including a passacaglia in the longest of the set – as conveyors of new revelations.

‘This program is a journey from darkness to light, a study in contrasts that nevertheless finds resonance across the centuries, ultimately finding transcendence and even triumph’, Benjamin Hochman concludes.

Benjamin Hochman, pianist and conductor
English Chamber Orchestra

Mr. Hochman, whose career as a pianist has been thriving, took time off recently to study conducting. It was time well spent. The stylistic insight, elegance and sparkle of Mr. Hochman’s pianism are beautifully matched by the playing of the orchestra.  Anthony Tommasini, The New York Times

Following the footsteps of Daniel Barenboim and Murray Perahia, he achieves great success with both pieces. This is a very stimulating and life-affirming record. MusicWeb International

A throwback to the golden age. BBC Music Magazine