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Honegger: Symphonies Nos 1-5, Pacific 231, Mouvement symphonique No. 3
Serge Baudo, Czech Philharmonic
Classical - Released January 1, 1991 | Supraphon a.s.
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Alkan: Paraphrases, Marches & Symphonie for Solo Piano, Op. 39
Mark Viner
Classical - Released January 29, 2021 | Piano Classics
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Booklet
The latest volume in a revelatory Alkan series from an English pianist with a string of critically acclaimed albums of rare repertoire from the Golden Age of the piano virtuoso to his credit. Perhaps the most enigmatic figure in the history of music as a whole, let alone the 19th century, Charles-Valentin Alkan remains one of the most intriguing and alluring names among the pantheon of pianist-composers. According to Franz Liszt, Alkan possessed the finest technique he had ever seen yet preferred the life of a recluse. The outstanding masterpiece of the album is the Symphonie for solo piano which Alkan drew from his set of 12 Studies, Op. 39. It opens with an Allegro which is one of the composer’s most darkly impassioned conceptions, in which declamatory rhetoric, passionate outbursts and towering climaxes are all bound by a tightly organised structure. The piano writing is distinctly orchestral in nature, hence the ‘symphonic’ designation, demanding that the intrepid soloist make his or her way through towering conglomerations of sometimes ten note chords, thick, chordal tremoli and volleys of double octaves: only fully accredited virtuosi need apply! The Symphonie is placed on this album as the climax to a sequence of grand marches conceived on a similarly grand scale. They include the Three Cavalry Marches, Op. 39, which find Alkan at his most concise, in the Berliozian No. 1, his most eccentric (the trio of No. 2) and whimsical (No. 3). Like them, the Marche funèbre, Op. 26 bears witness to Alkan’s ability to channel a latent and, at times, menacing power through material of the slightest substance. The following Marche triomphale, Op. 27 is a massive, swaggering affair, in contrast to the ruminative melancholy of the opening paraphrase Op. 45 on a poem by Legouvé set in a cemetery and cast in Alkan’s most elegiac vein. A profound sadness also inflects the opening section of the composer’s ingenious instrumental setting of Psalm 137, ‘By the waters of Babylon’. The booklet contains an excellent essay on Alkan and his works by the artist himself. © Piano Classics
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Brunch Classical Music
Wolfgang Amadeus Mozart, Ludwig Van Beethoven, Classical Music: 50 of the Best, Claude Debussy, Edvard Grieg, Johannes Brahms, Johann Sebastian Bach,
Classical - Released March 10, 2020 | Armasi
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Beethoven: Complete String Quartets
Takács Quartet
Classical - Released January 1, 2017 | Decca Music Group Ltd.
Hi-Res
Booklet
Beethoven: The Complete Piano Variations & Bagatelles
Ronald Brautigam
Classical - Released September 6, 2019 | BIS
Booklet
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Beethoven: The Complete String Quartets
Smetana Quartet
Chamber Music - Released August 28, 2020 | Supraphon a.s.
Hi-Res
Booklet
The Smetana Quartet are a true legend. For over four decades (1945-1989), the ensemble gained critical acclaim and enthused audiences all over world, particularly in the UK, USA and Japan. They attained perfect chime and extraordinary flexibility in voice leading, resulting in part from their playing the entire repertoire by heart. The quartet performed Beethoven’s works throughout their existence – following Smetana, he was the composer on whose music they focused the most and whose complete quartets were in their repertoire from 1974 onwards. They explored some of Beethoven’s pieces for several years before including them in their concert programmes. In collaboration with a Supraphon team, in 1976 the ensemble embarked upon a colossal project, which in 1985 came to fruition with the release on Nippon Columbia of a recording of the complete Beethoven string quartets. Even though the past decade has seen significant changes pertaining to interpretation and technology, the Smetana Quartet’s account of Beethoven’s works is by no means a “museum exhibit”, with their vivacity and dynamism still enthralling today’s listeners. The recording, carefully digitally remastered from the original analogue tapes, is the very first release beyond Japan. Lovers of perfect sound are afforded the opportunity to listen to it Hi-Res 24 bit/192 kHz. © Supraphon
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Beethoven : Bagatelles
Tanguy de Williencourt
Classical - Released February 7, 2020 | Mirare
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Booklet
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5 de Diapason
With this album, pianist Tanguy de Williencourt offers an original vision of Beethoven. The album includes various pieces, some with a “Webernian” length of 30 seconds to 2 minutes, consisting in skits into the musician’s imagination, like ripped off pages of the genius’ diary. In the time of Beethoven, French was in fashion. As their French inspired name indicates, the Bagatellen were sometimes light, sometimes erotic. Beethoven’s Bagatellen, as a name (more than a form) punctuated the composer’s entire career. Yet, he referred to them as his ‘Kleinigkeiten’, little things. A series of charming and dedication pieces (Für Elise), they, nevertheless, became almost prophetic in 1825, when Beethoven’s language resolutely began to foresee the future. © François Hudry/Qobuz
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Beethoven: Fur Elise, Bagatelles Opp. 33, 119 & 126
Paul Lewis
Classical - Released July 10, 2020 | harmonia mundi
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Booklet
‘Miniature’ Beethoven! In our collective idea of the piano, Beethoven’s name is associated with the monument of the thirty-two sonatas, which have often been elevated to the status of the ‘New Testament’ beside the ‘Old Testament’ of Bach’s Well-Tempered Clavier. Yet, over a period of decades, the composer of Für Elise constantly returned to the genre of the bagatelle, which he called ‘trifles’ but which actually meant a great deal to him. In this small form par excellence, as in the sonata, Beethoven laid the foundations for a flourishing new genre, the piano miniature. Whether they last a few minutes or a few seconds, these Bagatelles are masterpieces! © harmonia mundi
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Beethoven: Complete Sonatas for Piano and Violin
Ludwig van Beethoven
Classical - Released September 25, 2014 | Challenge Classics
Booklet
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Prism II (Bach, Schnittke, Beethoven)
Danish String Quartet
Classical - Released September 13, 2019 | ECM New Series
Hi-Res
Booklet
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This release by the Danish String Quartet is part of a five-album series titled "Prism," each of which will apparently include three works: an arrangement of a Bach fugue for string quartet, one of Beethoven's five late quartets, and a 20th century work that somehow lies in the shadow of both, or, to use the quartet's own words, "a beam of music is split through Beethoven's prism." In this case, the program is unusually coherent, with the String Quartet No. 3 of Alfred Schnittke engaging itself directly with the Beethoven String Quartet No. 13 in B flat major, Op. 130, and Grosse Fuge, Op. 133, here played as the finale of the String Quartet No. 13 as Beethoven originally conceived the work. Logically, the Beethoven should go in the middle, but after you hear the Danish String Quartet's blistering performance of the String Quartet No. 13, you'll agree that it would be an impossible act to follow. The group gets just how radical this quartet was, especially with the Grosse Fuge in place, as sharp contrasts grow throughout the work and explode in the unthinkably intense fugue. The quartet takes the first movements of the six-movement work very rapidly, with the lighter melodic passages seeming like passing thoughts, takes a deep pause with the Cavatina slow movement, and then plunges into the fugue at top power. They are aided by magnificent engineering work from ECM, working on the Reitstadel Neumarkt, a riding stadium with famed acoustics. The Schnittke quartet is a fascinating work in itself, quoting the Beethoven extensively and exploring its sharp contrasts (sample the Agitato middle movement). One awaits the rest of the Danish String Quartet's series breathlessly, but it's possible that this volume, with a Beethoven performance for the ages, will tower over the rest. A bonus is a set of notes by the great Paul Griffiths, writing mostly for ECM these days.© TiVo
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Beethoven: The Complete Piano Trios
Suk Trio
Classical - Released July 16, 2021 | Supraphon a.s.
Booklet
Supraphon made these recordings for Nippon Columbia within a short timeframe, from June 1983 to April 1984, at the Rudolfinum in Prague. They capture the mature ensemble when it included the pianist Josef Hála, who in 1980 had replaced Jan Panenka. The trio’s sound was dominated by the strings, primarily the violin of Josef Suk, who also defined the interpretation principles. The singularity of the ensemble and their recordings alike rests in infallible technique, sonic refinement, admirable interplay and profound musicality devoid of any showboating. © Supraphon
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Ludwig van Beethoven : Complete Works for Violoncello and Piano
Jean-Guihen Queyras
Duets - Released September 22, 2014 | harmonia mundi
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Booklet
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Choc Classica de l'année
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Albert Roussel Edition
Michel Plasson
Classical - Released March 22, 2019 | Warner Classics
Booklet
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Beethoven, Mendelssohn & Others: Piano Works
Shura Cherkassky
Classical - Released October 6, 2023 | APR
Booklet
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Schubert & Beethoven
Grigory Sokolov
Classical - Released January 15, 2016 | Deutsche Grammophon (DG)
Booklet
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5 Sterne Fono Forum Klassik
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Perla Barocca: Early Italian Masterpieces
Rachel Podger
Classical - Released September 22, 2014 | Channel Classics
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By the mid-seventeenth century, musicalcomposition had reached a point whereinvention had converged with technicalmastery. Composers embraced a bass linelively with linearity, often entering intodialogue with the upper voices. Exploratoryharmonic schemes were encompassedwithin larger unified tonalities. Throughrhetorical structures, such as motive,imitation and sequence, composers instilledlogic into their musical arguments. Thesecharacteristics, though rooted in vocalpractice, were being cultivated for the firsttime in musical history for instrumentalists.In other words, the Baroque was born.The featured composers showcasesublime examples of the early ItalianBaroque. Some composers dominate therepertory; others have left behind only ahandful of works. Here, they come togetherto convey the diverse musical landscape atsuch an excitingly rich and creative era.
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Ludwig van Beethoven : The Complete Violin Sonatas (Intégrale des Sonates pour violon & piano)
Itzhak Perlman
Classical - Released January 1, 1977 | Decca Music Group Ltd.
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Beethoven: The Violin Sonatas
Clara Haskil
Classical - Released September 22, 2021 | Alexandre Bak - Classical Music Reference Recording
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La Playlist Classique
Classical Music: 50 of the Best, Radio Musica Clasica, Wolfgang Amadeus Mozart, Tchaikovsky, Johann Strauss II, Johann Sebastian Bach, Johannes Brahms
Classical - Released October 19, 2019 | Armasi
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Bach - Busoni - Beethoven
Yuuko Shiokawa
Duets - Released October 27, 2017 | ECM New Series
Hi-Res
Booklet
Yuuko Shiokawa and her husband András Schiff are heard here in an insightful – and delightful – programme of sonatas for violin and piano which begins with Bach’s Sonata No. 3 in E major, ends with Beethoven’s Sonata No. 10 in G major, and has at its centre Busoni’s Sonata No. 2 in E minor. No other 20th century composer was as deeply steeped in the music of Bach as Ferruccio Busoni, and his second sonata, published in 1901, is indebted to both Bach and Beethoven. Its form makes references to Beethoven’s late sonatas, whereas the final movement incorporates as its variation theme Bach’s chorale “Wie wohl ist mir”. As on their earlier and widely-admired duo recording for ECM (featuring Schubert Fantasies), Shiokawa and Schiff play the music with absolute authority and deep understanding. Their Bach-Busoni-Beethoven programme was recorded in Lugano in December 2016. © SM/Qobuz
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