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Schubert : Fantasie in F Minor & Other Piano Duets
Andreas Staier
Chamber Music - Released March 17, 2017 | harmonia mundi
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Diapason d'or -
Choc de Classica -
5 Sterne Fono Forum Klassik
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Le temps perdu
Imogen Cooper
Classical - Released September 3, 2021 | Chandos
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Borrowing from the title of Proust’s great novel, the latest recital by Imogen Cooper features a collection of pieces that she learnt as a teenager in Paris, or in her twenties working with Alfred Brendel in Vienna, but none of which she has performed on the concert platform, or really played at all in the intervening years. Cooper studied in Paris from 1961 to 1967 with Jacques Février (who had known Ravel well), Yvonne Lefébure (who had known Alfred Cortot), and Germaine Mounier. She started to wonder about the messages from her teachers she would find on her scores, and about the nature of memory. She was also interested to see if the repertoire she has acquired since she learnt these pieces would change her view, or shed new light on them. This highly personal recital is an exemplar of Imogen Cooper’s outstanding pianism and musicianship. © Chandos
Legendary Schubert Recordings - Wilhelm Kempff
Wilhelm Kempff
Classical - Released June 14, 2023 | UME - Global Clearing House
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Schubert: Piano à quatre mains
Claire Désert
Classical - Released October 29, 2015 | Mirare
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Schubert : Fantasy for Piano Duet - Grand Duo
Sviatoslav Richter
Classical - Released June 20, 2000 | Decca Music Group Ltd.
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Quintette "La Truite" - Adagio et Rondo concertante
Academy of St. Martin in the Fields
Chamber Music - Released October 1, 2002 | Chandos
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Piano Music - Schumann, R. / Kabalevsky, D. / Schubert, F. / Bartok , B. (Such Stuff As Dreams - Lullaby Album for Children and Adults)
Carol Rosenberger
Classical - Released September 30, 1997 | Delos
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Hommage à Auguste Tolbecque
Jean-Luc Ayroles
Chamber Music - Released December 6, 2019 | Passacaille
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Born in Paris in 1830, Auguste Tolbecque arrived in Niort, in the Deux-Sèvres department, 26 years later after marrying a woman from the very same town. This is where he laid down his roots and started a family, spending his time organising and enlivening the musical goings-on of the small town in in Western France. Auguste Tolbecque’s dedication to baroque music and instruments from the past would nowadays have made him a totally contemporary musician. He was fascinated by a past that Mérimée and Viollet-le-Duc were indeed dedicated to preserving with their work on masterpieces of Roman, gothic and Renaissance heritage. But while the musician may have preserved instruments, he appeared to resist playing them, the fact being that it was not yet in fashion to experiment with the styles of playing from past times. It’s thanks to the initiative of cellist and Tolbecque connaisseur Christophe Coin that this album saw the light of day with the presentation of over twenty of the forgotten composer’s works. An instrument-maker, composer and cellist, (Saint-Saëns dedicated his First Concerto to him), author of operettas and operas that have since faded away, Tolbecque has waited a long time for his moment in the spotlight since his death just after the end of the First World War. Inaugurated in November 2019, a century after his death, the brand new Conservatoire Auguste Tolbecque in Niort prolongs this event with this release dedicated to his chamber music, mainly his work for cello and piano, but also for the organ and 2 and 4 hands on the piano, in keeping with the style of the Second Empire. © François Hudry/Qobuz
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Schubert: Piano Sonara, D. 930 - Mendelssohn: Variations Sérieuses & 3 Lieder - Chopin: Polonaise-Fantasie & Ballade No. 4
Vladimir Horowitz
Classical - Released May 6, 2004 | Urania
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Mozart: Sonata for 2 Pianos, K. 448 & Andante with 5 Variations, K. 501 - Schubert: Fantasia, D. 940 & Andantino varié, D. 823
Robert Casadesus
Classical - Released March 1, 2019 | Sony Classical
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Beethoven, Schubert, Weber: Works for Flute and Piano
Emmanuel Pahud
Classical - Released March 24, 2014 | naïve classique
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Hamelin: New Piano Works
Marc-André Hamelin
Classical - Released February 2, 2024 | Hyperion
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Marc-André Hamelin, by general acclaim, one of the great virtuosos of the day, here attempts to recapture the compositional as well as technical spirit of the pianistic giants of the past. Liszt, of course, was a pianist-composer, but he was not the only one. Hamelin issued an album of his own etudes in 2010, but in these "New Piano Works," mostly composed during the 2010s, he is even more adventurous. Many of these works are variations of one kind or another, and Hamelin starts off with his own Variations on a Theme of Paganini, previously essayed by Liszt, Rachmaninov, and several others. These variations introduce not only the usual high level of virtuosity but also the eclectic range of references in most of these works; he quotes Rachmaninov's set and also alludes to Alkan, Chopin, Brahms, and others. The variation form is ideal for Hamelin's project, for he can drop in quotations and allusions the same as a 19th century virtuoso would. His Variations diabellique sur des thèmes de Beethoven is a wickedly humorous exegesis on Beethoven's Variations on a Waltz by Diabelli, Op. 120. There are hints of jazz in some of Hamelin's variations, and these flower fully in the Suite à l'ancienne, which annotator Francis Pott proposes as a tribute to the jazz-classical fusionist Nikolai Kapustin; he composed a similar Suite in the Old Style. Hamelin concludes with an explosive Toccata on l'Homme Armé, the medieval tune that served as the basis for numerous Renaissance masses. So Hamelin's range of references is wide, but it is never random, and the listener who missed the subtler allusions will still enjoy the music. This is a bold, highly entertaining re-creation of the role of the classic virtuoso, idiomatically and clearly recorded at London's Henry Wood Hall. This release made classical best-seller lists in early 2024.© James Manheim /TiVo
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Haydn: Piano Sonatas, Vol. 11
Jean-Efflam Bavouzet
Classical - Released July 29, 2022 | Chandos
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A complete set of Haydn's piano sonatas, complete with other almost entirely obscure short piano pieces, may have seemed an odd and unwieldy career move for pianist Jean-Efflam Bavouzet, but he has more than amply justified his choice. His detailed readings of sonatas from all parts of Haydn's life (all played on the piano) have given the lie to a general perception that just a few of them are worthwhile. Listeners sampling the set could do worse than jump in at the end here. Bavouzet has saved both Haydn's first and last sonatas for this album, which is short on representatives of his middle period, but the release has all of the virtues of the set in general. Bavouzet is careful and precise without losing the humor that is almost always present in Haydn's music. He finds originality in the early pieces. Actually, the piece denoted the Piano Sonata No. 14 here is likely to have been the first one, not the Piano Sonata No. 1, but all of Bavouzet's performances of the early works catch Haydn's very early appreciation of the possibilities of register. Those possibilities come into full flower with the Theme and Variations in C major, Hob. 17/5, of 1790, a profound and almost unknown work. There is no question that the last two Haydn sonatas would have been works that the young Beethoven knew well and that influenced him mightily, but Bavouzet avoids leaning into their proto-Romantic qualities; his interpretations, here as elsewhere in the set, are of a piece despite the great stylistic changes they cover. Chandos' sound from Potton Hall continues to be ideal, and one cannot help feeling a little sadness that Bavouzet's 11-year journey through Haydn is over.© James Manheim /TiVo
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Goldberg Variations
Trevor Pinnock
Classical - Released October 9, 2020 | Linn Records
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Composer Józef Koffler was the first Polish champion of Schoenberg's 12-tone system and a modernist whose work, based on this fascinating transcription of Bach's Goldberg Variations for harpsichord, BWV 988, is likely to be worth further investigation. He ran afoul of Stalin's Soviet Union and then, worse, of the Germans when they took over Poland, and he disappeared in the Holocaust. The Goldberg arrangement, composed in 1938, was perhaps intended as something palatable to Soviet conservatives, but it is in no way done by the numbers. For one thing, when Koffler composed the work, the Goldberg Variations were quite new in the public consciousness; they had received their first recording, from harpsichordist Wanda Landowska, just five years earlier. Koffler's version, for a small orchestra of strings and winds, was forgotten and was premiered only in 2019, by many of the forces on this recording: it is extremely artfully done. Koffler deploys his ensemble, generally speaking, in three different ways: with the strings taking Bach's melody line, with wind-and-strings atomization of the melody, and with counterpoint mainly in the winds. He is inspired by the broadly tripartite structure of the variations, with canons mostly making up every third variation, but he departs from this where Bach does, and the entire set retains the unity and growth of the original, with complexity and expressivity growing as if inevitably as the music proceeds. The work would make an ideal complement in concert to Anton Webern's arrangement of the fugue from Bach's Musical Offering, BWV 1079. Historical performance veteran Trevor Pinnock leads a mixed ensemble of young musicians, consisting of members of the Royal Academy of Music Soloists Ensemble and students at the Glenn Gould School in Canada, and they play with precision and a fine edge. The Linn label delivers superbly detailed sound from the Britten Studio in Snape Maltings, UK, and the album graphics, showing a Chagall-like shtetl painting by the similarly doomed artist Chara Kowalska, are haunting. A unique release, fully deserving of the commercial success it has received.© TiVo
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Schubert: Lieder with Orchestra
Munich Radio Orchestra
Classical - Released October 6, 2023 | BR-Klassik
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One might react to this album with initial annoyance and ask whether it is really necessary to hear orchestrated versions of Schubert's supremely pianistic songs. It may come as a surprise, then, to find that most of these Lieder with Orchestra were arranged by great composers. They include Benjamin Britten, Jacques Offenbach, and Max Reger, who took on the job because, he said, he hated to hear a piano-accompanied song on an orchestral program. Perhaps the most surprising name to find is that of Anton Webern, but his arrangements are not the minimal, pointillistic things one might expect; he wrote these arrangements as a way of studying Schubert's music, and they are quite straightforward. Indeed, it is somewhat difficult to distinguish the arrangers simply by listening to the music; Schubert's melodic lines tend to suggest distinctive solutions. Perhaps Reger's are a bit more lush than the others, although his version of Erlkönig, D. 328, is one of the few numbers here that just doesn't work (there is no way to replicate the percussive quality of the accompaniment). As for the performances as such, Benjamin Appl is clearly an important rising baritone, and he has a wonderful natural quality in Schubert. An oddball release like this might seem an unusual choice for a singer in early career, but he contributes his own notes, and he seems to have undertaken the project out of genuine enthusiasm for the material. At the very least, he has brought some intriguing pieces out of the archives and given them highly listenable performances. The Munich Radio Orchestra, under the young Oscar Jockel, is suitably restrained and keeps out of Appl's way. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo
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Debussy: Complete Works for Piano
Jean-Efflam Bavouzet
Classical - Released October 1, 2012 | Chandos
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Praised for his meticulous fidelity to the composer's intentions, as well as for his rich tonal palette and the warmth of his expressions, Jean-Efflam Bavouzet has won many admirers for his five albums of the complete solo piano music of Claude Debussy. These recordings were produced by Chandos between 2007 and 2009, and they have now been gathered into a handsome box set; each disc is presented with its own cardboard sleeve and the original liner notes that accompanied each release. The roster of artists who have recorded Debussy's keyboard music is a long and distinguished one, though Bavouzet is easily ranked in the upper echelons, equal in stature among such luminaries as Jean-Yves Thibaudet, Arturo Benedetti Michelangeli, Krystian Zimerman, Maurizio Pollini, Angela Hewitt, Pierre-Laurent Aimard, and Pascal Rogé. Experienced listeners will already have favorite recordings of the Préludes, Images, Estampes, and Études, as well as the perennially popular Suite bergamasque, Children's Corner, and other picturesque pieces. However, many will be won over by the consistency of Bavouzet's playing, and newcomers will find that his disciplined yet gorgeous readings are a great way to begin appreciating these charming classics. Chandos provides excellent sound that gives the piano a clear presence yet takes nothing away from Bavouzet's atmospheric colors or the radiant acoustics. Highly recommended.© TiVo
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In Memoriam I
Pieter Wispelwey
Chamber Music - Released February 3, 2023 | Evil Penguin Classic
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The "in memoriam" in the title of this release by cellist Pieter Wispelwey and pianist Paolo Giacometti refers not to any aspect of Schubert's music but to Wispelwey himself and his recently deceased son. The music was recorded previously to this 2023 release but is not a reissue of an earlier album; the pieces by Schubert were extracted from earlier albums also featuring other composers and resequenced here. (A second In memoriam album, with Bach and Kodaly, is planned.) The Schubert pieces are arranged for cello and piano from other media, and one pleasure of the material is how well Wispelwey has accomplished his task as arranger; the challenges posed by the change in register in the opening Introduction and Variations on Trockne Blumen, K. 802, originally for flute and piano, are quite elegantly handled. The ordering of the pieces seems to embody a passage from death to life, with the variations on the grim song Trockne Blumen ("Dry Flowers") giving way to a sonata and a short rondo before the freer Fantasy in C major, D. 934, originally for violin and piano and again artfully arranged. In the performance here, the Fantasy does take on a life-affirming quality. These recordings, when they were originally made, had an unpleasantly breathy, close-up quality, and nothing seems to have been done to improve that, but they do represent a moving repurposing of earlier music-making in commemoration of a tragic event.© James Manheim /TiVo
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Entrez dans la danse... (Hahn, Ravel, Poulenc, Schmitt...)
Anne Queffélec
Solo Piano - Released January 13, 2017 | Mirare
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5 de Diapason
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R. Schumann: Complete Solo Piano Works, Vol. 3 - Variationen über den Namen Abegg, Op. 1, Davidsbündlertänze, Op. 6, 4 Klavierstücke, Op. 32 & Vier Märsche, Op. 76
Dana Ciocarlie
Classical - Released September 29, 2017 | La Dolce Volta
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Choc de Classica -
Choc Classica de l'année
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Schubert : Octuor - Berwald : Grand Septuor
Anima Eterna
Classical - Released April 5, 2019 | Alpha Classics
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This recording is Anima’s very first to be completely devoted to instrumental ensemble music. A group of musicians headed by violinist Jakob Lehmann breathes new life into two 19th-century masterpieces. Schubert's Octet in F is a crown jewel from the repertoire, taking its cue from Beethoven’s celebrated Septet yet at the same time paving the way toward the "Grosse Sinfonie". Roughly 20 years after its iconic recording of the complete Schubert symphonies, Anima brings its signature approach to the composer’s chamber music to explore it with the insights and “language skills” developed back then and from thereon. In contrast to Schubert, Franz Berwald has been largely forgotten – undeservedly, as this gifted Swede left behind an oeuvre that is both surprisingly modern and delightfully original. Performed on period instruments, using authoritative sources and contemporary playing techniques, these brilliant pages of large ensemble music are now ready to be rediscovered and enjoyed once again. © Alpha Classics
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