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Brahms: Piano Works (Klavierstücke Op. 76, Intermezzi Op. 117, etc.)

Adam Laloum

Classical - Released January 18, 2011 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason
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Brahms: Piano Concerto No.1 op. 15

Paul Lewis

Concertos - Released April 15, 2016 | harmonia mundi

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Chopin: Journal musical de Chopin

Abdel Rahman El Bacha

Classical - Released January 12, 2010 | Mirare

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Brahms: Cello sonatas

Andrei Korobeinikov

Classical - Released January 22, 2016 | Mirare

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Beethoven: Symphonie No. 9 (Transcription de F. Kalkbrenner pour solistes, chœur et piano)

Etsuko Hirosé

Classical - Released October 2, 2020 | Mirare

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Brahms: The Symphonies

Johannes Brahms

Classical - Released April 21, 2017 | BSO Classics

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Brahms: Symphonies Nos. 1 & 3 & Academic Festival Overture

Otto Klemperer

Classical - Released June 2, 2023 | Warner Classics

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Brahms: Symphonies Nos 1-4, Piano Quartet No. 1 (Orch. Schoenberg)

Luzerner Sinfonieorchester

Classical - Released April 7, 2023 | Warner Classics

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This is the debut recording with the Luzerner Sinfonieorchester by conductor Michael Sanderling, who recently ascended to the orchestra's podium as of 2023 when the album appeared. A set of Brahms symphonies, a crowded marketplace slot in the extreme, might seem a bold move in these circumstances, but nobody can accuse Sanderling of merely retreading others' steps. His Brahms is broad, slow, and detailed, seemingly opening the works into an expanded view. One attraction here, and one that could well bring buyers to the set on its own, is the rare Arnold Schoenberg orchestration of Brahms' Piano Quartet No. 1 in G minor, Op. 25, that concludes the album. Although all the melodic material in the work is Brahms', the work is quite characteristic of Schoenberg in its rich, brash orchestration. Schoenberg, in explaining why he made this version of a Brahms chamber work, said, "It is always very badly played, because the better the pianist, the louder he plays, and you hear nothing from the strings. I wanted once to hear everything, and this I achieved." That statement might serve as well as a general characterization of Sanderling's symphony treatments here. All of his tempos are well on the slow side. The Symphony No. 4 in E minor, Op. 98, clocks in at well over 46 minutes, perhaps six minutes slower than average for the work. The rest are similarly measured, with exposition repeats adding to the overall heft. Sanderling fills the spaces with orchestral detail. Sample the opening movement of the Symphony No. 1 in C minor, Op. 68, where the slow introduction is atomized into small gestures that do, in his reading, have their parts to play in the music that follows. However, the big tunes, in this symphony's finale and elsewhere, lose some of their impact; the long line is not quite long enough to sustain them. Sanderling is probably at his best in the Symphony No. 3 in F major, Op. 90, with its compact thematic blocks in which he finds unsuspected layers. This new Brahms, also benefiting from the spacious acoustic of the new Orchesterhaus Luzerner Sinfonieorchester, certainly commands attention.© James Manheim /TiVo
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Joseph Haydn : Cello Concertos

Freiburger Barockorchester

Cello Concertos - Released March 27, 2003 | harmonia mundi

Booklet Distinctions Choc de Classica
This admirable Harmonia Mundi release presents Franz Josef Haydn's two cello concertos and the Cello Concerto in G minor by Georg Matthias Monn with the luster of period instruments; refined, idiomatic playing; and exceptional sound quality, with full resonance; and cellist Jean-Guihan Queyras and the Freiburg Baroque Orchestra, directed by Petra Müllejans, render these works with exquisite details and emotional depth. In a real sense, their performances are acts of rediscovery, for Haydn's cello concertos have become routine fare from too many modern renditions, and Monn's piece is unfamiliar from too few performances. Indeed, all three concertos have suffered the vagaries of preservation and interpretation. Haydn's Cello Concerto No. 1 in C major was once considered lost until its discovery in 1961; the Cello Concerto No. 2 in D major suffered false attribution and its authorship was debated until the appearance of the manuscript in 1954; and Monn's concerto survived only in an arrangement for harpsichord and strings until Arnold Schoenberg edited it in 1912. To set the record straight, this disc presents the concertos intelligently refurbished, with appropriate eighteenth century style and color. Through their insightful scholarship and sensitive performances, Queyras and Müllejans have produced a fine alternative to the less authentic mainstream recordings.© TiVo
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Brahms: Symphony No. 1 & Tragic Overture

Gewandhausorchester Leipzig

Symphonies - Released September 25, 2020 | PentaTone

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Herbert Blomstedt, the honorary head of the Leipzig Gewandhaus Orchestra to which he was musical director for six years, is still active at the ripe old age of 93. Recorded in 2019, this new interpretation of Brahms’ Symphonie no.1 was conceived by Blomstedt, a devout Christian, spontaneously in wake of current times. “Rarely - he writes on the title page of the first chapter to this new integral - have we had more need for such light than today, when the entire world risks losing its soul”. In fact, the great American conductor of Swedish origin has moulded this interpretation into a humanist perspective that brings Brahms closer to Schubert. The work is gentle and calm with a lyricism akin to a lied. The Gewandhaus Orchestra plays like an immense chamber ensemble, giving this work an atypical tone in which its more rebellious moments seem to be smoothed out.   From this perspective, Brahms sounds somewhat Beethovian, particularly in how the Andante sostenuto is treated as it takes on the form of great love song calling for the unity of all men with an expressionism that is not far off the Adagio of Beethoven’s Ninth Symphony. This recording is a great moment of live music captured exquisitely by the excellent technical team at Pentatone. The tragic opening, one of the high points of Brahms’ symphonic oeuvre curiously takes on an allure of nobility and classicism as if to quell the tensions that Herbert Blomstedt dreads so much in this world. © François Hudry/Qobuz
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Edvard Grieg : Concerto pour piano, Pièces lyriques (extraits)

Shani Diluka

Classical - Released January 31, 2007 | Mirare

Booklet Distinctions 5 de Diapason - Choc du Monde de la Musique - RTL d'Or
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Frederic Chopin : Valses (Intégrale)

Alexandre Tharaud

Classical - Released April 21, 2006 | harmonia mundi

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Alexander Scriabin : Intégrale des Etudes pour piano

Andrei Korobeinikov

Solo Piano - Released October 6, 2014 | Mirare

Hi-Res Booklet Distinctions 4 étoiles Classica
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Gabriel Fauré : Piano Works

Michel Dalberto

Classical - Released April 14, 2017 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - 4 étoiles Classica
Disciple of Vlado Perlemuter and Jean Hubeau, Michel Dalberto has stood out as a master and ardent defender of French music in the course of a forty-year career. His signature for the Aparté label of a series of recordings devoted to Debussy, Fauré, Ravel, and Franck marks his awaited return to discs. Each episode will be recorded live and accompanied by a video. This second release, recorded on a Bechstein piano at the Conservatoire d’Art Dramatique-Paris on 7 January 2017, honours Gabriel Fauré.
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Hélène de Mongeroult, portrait d'une compositrice visionnaire

Marcia Hadjimarkos

Classical - Released September 20, 2023 | iMD-Seulétoile

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Chopin : De l’enfance à la plénitude

Anne Queffélec

Classical - Released January 21, 2010 | Mirare

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Brahms: Liebeslieder, Walzer & Dix Danses Hongroises pour piano à quatre mains

Brigitte Engerer

Classical - Released September 6, 2011 | Mirare

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Haydn : L'Impatiente

Julien Chauvin

Classical - Released October 4, 2019 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
The Haydn series continues with the Paris Symphony No. 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening to Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians – and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The record offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué, and to revive the success that they once knew. © Aparté
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Passions de l'âme et du cœur

Ricercar Consort

Classical - Released January 12, 2015 | Mirare

Booklet