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Piano solo - Verschenen op 5 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Concerten voor cello - Verschenen op 30 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - Le Choix de France Musique
Cellist Sol Gabetta and her almost-favourite pianist, Bertrand Chamayou, focus here on Schumann's all too rare repertoire for cello and piano. And once again, none of these pieces are intended a priori for cello, even though the original scores do propose the instrument as a possible alternative to the clarinet in Fantasy Pieces or the horn in Adagio and Allegro. It was only with Five Pieces in Folk Style that Schumann immediately thought of the cello! Here, Chamayou plays on a Viennese fortepiano by Streicher, dated from 1847 - three or four years after the composition of these three works. The Concerto for cello is accompanied by the Basel Chamber Orchestra, who also play on instruments from the romantic era, giving a more hushed yet incisive sound for the attacks. There’s more of an emphasis on the woodwind section as well, in contrast to the over-inflated string ensemble that so many modern orchestras offer up. © SM/Qobuz
CD€ 13,49

Concerten voor cello - Verschenen op 18 januari 2019 | Warner Classics

Booklet Onderscheidingen Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
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Piano solo - Verschenen op 14 september 2018 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
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Symfonieën - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Concerten voor cello - Verschenen op 30 november 2018 | Sony Classical

Hi-Res Onderscheidingen 4F de Télérama - Choc de Classica
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Liederen (Duitsland) - Verschenen op 16 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
Very different from Schubert’s Lieder, which are chants according to German “popular” tradition (usually strophic) with a musical accompaniment subservient to the singing (taking nothing away from their incredible genius!), Schumann’s are, to use Christian Gerhaher’s words, “lyrical dramaturgy”; miniature operas in which the piano and vocals are equal in content. This doesn’t explain why Schumann’s Lieder are so rarely performed in concert, with the exception of some well-worn cycles (normally Myrten, Dichterliebe and Frauenliebe und –leben). Gerhaher and his pianist Gerold Huber pick works from the genre’s ample repertoire that have almost never been performed in concert. Only three cycles date back to the “Liederyear” of 1840 (incidentally the year of his marriage to Clara Wieck), while the others are from the composer’s last years, beyond 1850, and are full of nostalgia… This is far from the dishevelled romanticism of his early years, the mood is dark and the discourse broken up into small brushstrokes. The contrast from one era to the other is striking. Gerhaher and Huber perform these surprising marvels brilliantly. © SM/Qobuz
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Piano solo - Verschenen op 14 september 2018 | Sony Music Labels Inc.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Liederen (Duitsland) - Verschenen op 9 november 2018 | Orfeo

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 8 februari 2019 | Nonesuch

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 11 januari 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Invaluable sound documents from one of the greatest pianists of the twentieth century. The third and final volume of the Berlin radio recordings by Cuban-born American pianist Jorge Bolet on audite presents repertoire novelties. With the exception of the Fledermaus paraphrase, all recordings are released for the first time. Once again, Bolet's performances document his universality and unceasing inquisitiveness, as well as his phenomenal musicianship and ability to adapt his virtuosity to diverse works. These recordings are therefore invaluable documents of a musician who today is justly considered one of the greatest pianists of the twentieth century. This selection comprises works of Beethoven, Chopin, Debussy, Dello Joio, Franck, Godowsky, Grieg, Liszt and Schumann. Beethoven's Fifth Piano Concerto did not form part of Bolet's regular repertoire: it is the only live recording on this edition. Further highlights include Schumann's Third Piano Sonata as well as major works by Chopin, such as the complete Op. 25 Études, in Bolet's masterful, lyrical interpretations. As an "encore", Bolet plays Godowsky's Concert Paraphrase of Strauss' Die Fledermaus. © Audite
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Liederen (Duitsland) - Verschenen op 19 april 2019 | Alpha

Hi-Res Booklet Onderscheidingen Choc de Classica
Julian Prégardien decided to record the Dichterliebe cycle after he came across the new Bärenreiter edition; he went on to explore the work in concerts with his constant accompanist, Eric Le Sage, inserting other works by Robert and also by Clara Schumann, whose bicentenary is celebrated in 2019. When Clara played the Dichterliebe in the 1860s, she used to slip extracts from Kreisleriana between the songs. Prégardien asked Eric Le Sage to record the same extracts on a Blüthner piano of 1856, the year of Robert’s death, and also to include Romances composed by both Robert and Clara at a time when their future marriage was still uncertain. The sublime ballade Löwenbraut also forms part of the programme – a reminder of the young Robert’s anguish on Clara’s departure. At Julien’s suggestion, Sandrine Piau was invited to sing three duets: a simple Canon composed by Clara, and two duets by Robert, Wenn ich ein Vöglein wär, and the sublime In der Nacht. Four further songs complete the recording: Sängers Trost, a short piece in belcanto style; Kurzes Erwachen, composed by Robert at the age of just eighteen; Aus den hebräischen Gesängen, a very melancholy song; an extract from the cycle Myrthen (Robert’s wedding present to Clara); and Mein Wagen rollet langsam, a song that was included in the composer’s first version of Dichterliebe. The Dichterliebe songs micht have been expected to show Schumann triumphantly rejoicing in that year of 1840 when he was finally able to marry Clara; and yet they are characterised by bitter irony, nostalgic Sehnsucht, and a sense of dread… © Alpha Classics
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Klassiek - Verschenen op 16 november 2018 | haenssler CLASSIC

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 8 maart 2019 | B Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Short just as love, life, poetry, and a winter concert given at the Théâtre de l’Athénée, this new B Records album proposes a program of musical miniatures, from Fauré to Schumann and Brahms. An opportunity to hear the baritone Stéphane Degout, one of the best french melodists, and his partner Simon Lepper behind his piano, in a sometimes soft, sometimes stormy, always romantic album.
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Piano solo - Verschenen op 1 februari 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 12 april 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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CD€ 9,99

Liederen (Duitsland) - Verschenen op 5 oktober 2018 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
CD€ 48,99

Piano solo - Verschenen op 18 januari 2019 | Universal Music Division Decca Records France

Onderscheidingen 5 de Diapason
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Liederen (Duitsland) - Verschenen op 19 oktober 2018 | Orfeo

Hi-Res Booklet Onderscheidingen Diapason d'or
Finally, a happy record! It’s a simple recipe: take four experienced singers who know each other well, add two complicit pianists, then pick out some works that are bursting with happiness. It’s rare to find such happiness in Schumann and Brahms’ work. The two composers shared a tendency to lean towards melancholic music, a "Sehnsucht" style which is so characteristic of German romanticism. Schumann wrote Spanisches Liederspiel Op. 74 in 1849. It’s a kind of love story, the first steps towards happiness. The work requires a theatrical and playful performance, which was perfectly accomplished here at this concert from the end of the 1974 Salzburg Festival, once the press had left the establishment. While there are few written traces that remain of this concert, the recording has preserved it for us. Here, Orfeo brings us this little miracle with four soloists at the top of their game, accompanied by two pianists who are well accustomed to the difficult task of supporting the singers. Shumann’s rare work is complemented by Brahms' famous eighteen vocal waltzes, given the collective title of Liebeslieder-Walzer Op. 52. An exceptional musical achievement. © François Hudry/Qobuz
CD€ 19,99

Liederen (Duitsland) - Verschenen op 14 september 2018 | SWR Classic

Booklet Onderscheidingen Diapason d'or