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Klassiek - Verschenen op 22 november 2010 | Warner Classics

Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Choc de Classica - Choc Classica de l'année
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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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Kwartetten - Verschenen op 20 oktober 2014 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Qobuzism
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Symfonieën - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Hi-Res Audio
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Vocale muziek (wereldlijk en religieus) - Verschenen op 18 maart 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Exceptional sound - 5 Sterne Fono Forum Klassik
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Wereldlijke vocale muziek - Verschenen op 7 oktober 2014 | BR-Klassik

Booklet Onderscheidingen Diapason d'or - Gramophone Record of the Month - 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 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
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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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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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Klassiek - Verschenen op 1 januari 2013 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - Hi-Res Audio
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Klassiek - Verschenen op 15 februari 2002 | Warner Classics

Hi-Res Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
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Klassiek - Verschenen op 4 augustus 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Choc de Classica
Maryla Jonas, a Polish-born concert pianist, made her U.S. debut at Carnegie Hall in February, 1946. As a newcomer, she received favorable reviews, but the next month Olin Downes, reviewing a recital before a crowded house in the same hall, wrote in The New York Times that “she has few equals as an interpreter among the leading pianists of today”. As a child prodigy, Jonas made her debut in Warsaw at the age of 9 and became a pupil of Ignacy Jan Paderewski. She won an International Chopin Prize in 1922 and the Beethoven Prize of Vienna the next year. She was in bombed-out Warsaw when it was captured by the Nazis, but escaped in 1940, a feat that was described later as “miraculous”. Walking day and night, she traveled 325 miles to the Brazilian Embassy in Berlin. From there, Jonas went to Rio de Janeiro, where her married sister, Mrs. Bertha Holin, then lived, and entered a sanitarium. Later she heard that her first husband, a noted criminologist, her parents and a brother had been killed in Poland. In Rio, Miss Jonas gave up playing for months. It has been said that her fellow countryman, Arthur Rubinstein, induced her to return to the piano. She toured South America to obtain funds to come to New York. Almost five years after her debut at Carnegie Hall, Miss Jonas fainted in the wings of the same hall after leaving the stage part way through her performance of Schumann's Carnaval. She recovered quickly and completed her program. Her illness forced her temporary retirement, but in December, 1956, she gave what was to be her last recital at Carnegie Hall. Maryla Jonas died on the 3rd of July, 1959 at her home of a rare blood disease that had hindered her career in recent years. Her age was 48. Remastered from the original analogue discs and tapes using 24 bit / 192 kHz technology. © Sony Classical
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Klassiek - Verschenen op 13 mei 2013 | Warner Classics

Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Gramophone Editor's Choice
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Religieuze vocale muziek - Verschenen op 23 oktober 2012 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - 5 de Diapason - Hi-Res Audio
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Trio´s - Verschenen op 17 november 2017 | Myrios Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 5 Sterne Fono Forum Klassik
An unusual and yet particularly clever juxtaposition can be found on this album, which consists in mirroring Schumann’s 1853 Märchenerzählungen (Tales, implicitly for children) for viola, clarinet and piano – as well as, still in the realm of fairy tales, Fantasiestücke (Fantasy Pieces) for clarinet and piano and then Märchenbilder (Fairy Tale Pictures) for viola and piano – and Jörg Widmann’s Es war einmal... Fünf Stücke im Märchenton (Once Upon a Time – Five Pieces in a Fairy Tale Tone). While being a contemporary, even a modernist artist, Widmann was indeed largely inspired by Schumann’s Märchenerzählungen, his work sprinkling with reminiscences, allusions and barely disguised quotes, superimposed to today’s language – so much that, at some point, one could be led to believe both tracks were playing at the same time, Schumann’s and Widmann’s! Ever since the first great creators, the art of “recycling”, reusing and rewriting is one of the main driving forces behind artistic creation; in fact Widmann is only following this proven model. Tabea Zimmermann on viola, Dénes Várjon on piano and on clarinet, no other than the composer himself: Widmann of course, not Schumann who, as everyone knows, doesn’t play the clarinet. © SM/Qobuz
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Vocale muziek (wereldlijk en religieus) - Verschenen op 16 november 2012 | Sony Classical

Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica - Exceptional sound
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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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Wereldlijke vocale muziek - Verschenen op 13 april 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
The least that we can say here is that soprano Sandrine Piau refuses to be pigeonholed: she cheerfully steers a course from the German romanticism of Schumann, Wolf or Loewe; to Debussy, all the way to the near-Broadway work of André Prévin, by way of Poulenc, Gurney and Samuel Barber… Her crystal-clear voice rejects any vocal Italicisms (no glissandos, no cooing, no notes attacked from below, no parasitic diphthongs, and a carefully-controlled vibrato), so that we get nothing but the music – and the words of course, comprehensible regardless of the language. Her long experience of baroque song – and the world of Mozart, in which she excels – has given her magnificent rigour, but her broad repertoire, which she deploys here, is full of power, from the suavest pianissimo to the most imposing fortissimo. As for pianist Susan Manoff, she simply offers the best possible musical accompaniment to the repertoires of the Lied, of French mélodie, romance and art song: and she is especially unmissable here, alongside one of today's greatest French voices. © SM/Qobuz