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Kamermuziek - Verschijnt op 5 juli 2019 | Orchid Classics

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Klassiek - Verschenen op 14 juni 2019 | Aparté

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Following a previous recording devoted to Mozart, François Chaplin has chosen Brahms' latest opus for solo piano: Rhapsodies Op. 79 and the intermezzi from Klavierstücke Op. 117 and Op. 118. The Rhapsodies, moving and powerful scores, express Brahms' sober melancholy. Far from his symphonic works, the interludes of Opus 117 and Opus 118, true miniatures, reveal the inner imagination of the composer. Brahms talks directly to the heart of the listener with his mature and sober poetry. Within these Klavierstücke, the interlude is a humble but generous genre where the musician gathers freely the fruits of his most intimate inspiration. These « lullabies of pain », as he called them, are composed during summer in the Austrian countryside, dear to this sturdy northern German. The emotion that emerges from it is all the more intense as it measures his artistic evolution. On this journey, François Chaplin brings out a soft poetry from a contained lyricism. © Aparté
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Klassiek - Verschenen op 14 juni 2019 | B Records

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The sonatas for violin and piano, which were composed on holidays to lakeside forests in the midst of sublime nature where Brahms loved to spend his summers, contain all the contradictions unique to the man who described himself as a wanderer: daring and discipline, naïveté and sagacity, melancholy and joy. Pierre Fouchenneret and Eric Le Sage embark fervently on this adventure, as a new stage in this crazy journey through Brahms’s complete chamber music works, charted by B Records. © B Records
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Kamermuziek - Verschenen op 7 juni 2019 | BIS

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Klassiek - Verschenen op 24 mei 2019 | Claves Records

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Klassiek - Verschenen op 10 mei 2019 | Naxos

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Brahms’ string concertos are indissolubly linked with the musicians for whom the works were written. He wrote his Violin Concerto for Joseph Joachim, and in it he combined what a contemporary critic termed ‘the great and serious’ with songful lyricism, melodic beauty, and a fiery Hungarian finale. To mend a breach with the violinist, Brahms later composed a concerto with the unusual combination of violin and cello, the latter played at the premiere by Joachim’s colleague Robert Hausmann. Neither instrument predominates in a work of reconciliation that embodies both drama and reflection. © Naxos
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Kamermuziek - Verschenen op 8 februari 2019 | Naxos

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Klassiek - Verschenen op 1 februari 2019 | Solo Musica

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Kamermuziek - Verschenen op 25 januari 2019 | B Records

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 20 januari 2019 | Everest

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Klassiek - Verschenen op 20 januari 2019 | Everest

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Klassiek - Verschenen op 9 januari 2019 | Royal Concertgebouw Orchestra

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Klassiek - Verschenen op 30 november 2018 | Universal Music Italia srL.

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Klassiek - Verschenen op 30 november 2018 | MUNCHNER PHILHARMONIKER GBR

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Klassiek - Verschenen op 16 november 2018 | Avie Records

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Klassiek - Verschenen op 2 november 2018 | Centaur Records, Inc.

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Duo´s - Verschenen op 14 september 2018 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The violin sonatas of Johannes Brahms were the product of much self-critical reflection, and the three surviving works are from a composer mature in years. Composed around the same time as the Violin Concerto (No. 1), the Piano Trio in C Minor and the Cello Sonata No. 2 (Nos. 2 and 3), they also echo some of his songs, such as those written to poems by Klaus Groth. Into this Romantic atmosphere come new performances of the three works on Glossa, played by violinist Leila Schayegh (particularly awarded for her recordings of Bach, Caldara and Benda), teaming up here with pianist Jan Schultsz. Schayegh plays a copy of a period violin, whilst Schultsz uses an original 1879 Streicher instrument. The two players aim to recapture the performing tradition as the composer would have known it, and within which he would have intended his pieces to have been played. Schayegh and Schultsz worked with Clive Brown and Neal Peres Da Costa in their efforts to aim for “the spirit rather than the dead letter of the score” and they pay admirable notice of important interpretative questions for music of this time – and they provide an intuitive musical and emotional response to the lyricism of the first two sonatas and the darker-hued tones of the third, investing these late-nineteenth-century works. © Glossa
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Klassiek - Verschenen op 14 september 2018 | Berlin Classics

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Klassiek - Verschenen op 3 augustus 2018 | Sony Classical

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