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Piano solo - Verschenen op 7 april 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Gramophone Award - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 18 maart 2016 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Pianiste Maestro - Choc de Classica - Choc Classica de l'année - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 1 september 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
Sibelius’s piano music remains a secret – chronically neglected or approached from an entirely unsympathetic aesthetic standpoint. Sometimes, criticism is justified. “I will be the first to admit that Sibelius’s piano music is uneven in quality”, says Leif Ove Andsnes, pointing to the composer’s own cynicism towards his piano works as a possible reason for the neglect of the genuine gems. But Andsnes also professes in no uncertain terms that he is “on a mission” to bring Sibelius’s piano works out of the shadows. “I really believe in this music and I want people to hear it”, he says. After scouring every published note of the composer’s piano music, Andsnes has selected works for this recording that speak to him not just as a pianist but as a musician who for a long time has felt particularly close to Sibelius. Here are piano works in which Sibelius’s orchestral thinking advances the language of the instrument even if it can test the technical orthodoxies of the player. As may be imagined, Andsnes masters them with elegance and ease.
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Piano solo - Verschenen op 10 februari 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica - Exceptional sound - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 23 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
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Piano solo - Verschenen op 2 maart 2015 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - 4 étoiles de Classica - Qobuzism
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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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Piano solo - Verschenen op 9 februari 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica
Oh no, no, no: this is absolutely not a re-release of one of the many recordings which Murray Perahia made of Beethoven over the decades. This here is something completely new, made in 2016 and 2017, of two radically contrasting sonatas: the Fourteenth of 1801, which Rellstab nicknamed "Clair de lune" in 1832, while Beethoven merely dubbed it Quasi una fantasia, and the Twenty Ninth of 1819, Große Sonate für das Hammerklavier, written after several barren years. Perhaps, consciously or not, Perahia has coupled two works, one "before" and the other "after" - after all, he himself has known his fair share of fallow years, following a hand injury which removed him from the stage from 1990 to 2005. Whether or not it's true, it's certainly tempting to imagine. Either way, like Beethoven, Perahia made a storming return, as shown in this recent performance, in which vigour alternates with moments of intense introspection, always impeccably phrased and articulated, and deeply musical. Clearly all those years in which he concentrated almost exclusively on the works of Bach as a training regime while he waited for recovery seem to have in fact been immensely fruitful. © SM/Qobuz
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Piano solo - Verschenen op 15 januari 2016 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 1 januari 1997 | Deutsche Grammophon (DG)

Onderscheidingen Diapason d'or - Choc du Monde de la Musique - 10 de Répertoire - 4F de Télérama
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Piano solo - Verschenen op 27 oktober 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
The third album from Lucas Debargue with Sony Classical, this is a very original programme - the previous album offered a mixture of Bach, Beethoven and Medtner - which combines two Schubert sonatas (D.874, 1823, and D.664, 1819, respectively) and the ambitious Piano Sonata No. 2 (1910-11) from Szymanowksi, with post-Regerian momentum. Lucas Debargue, who sent shockwaves at the last Tchaikovsky competition, opens his new work with Sonata in A Minor, and gives it some truly tragic, wintry tones,  in the style of certain Russian pianists (Richter, Sofronitzky, etc.): a black and white keyboard, lit up by a recording effort that in no way dulls the harmonics. The cheeriest Sonata in A Major - which was a favourite of Wilhelm Kempff - has a similarly staid character, rather reserved. To be honest, this album seems to owe more than a little to Sviatoslav Richter. If Schubert was one of Richter's "obsessions", the Piano Sonata No. 2 from Szymanowksi was also at the heart of the Russian pianist's repertoire, who performed it several times in concert (e.g. at Parnassus, the concert for the centenary of Szymanowksi's birth on 26 November 1982 in Warsaw). A convulsive, tortured work, it is made up of two amply developed movements, which are very dark, dense and complex, including a theme and variations, crowned by a tremendous fugue. © TG/Qobuz
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Piano solo - Verschenen op 5 mei 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Exceptional sound - Hi-Res Audio
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Piano solo - Verschenen op 25 augustus 2017 | ECM New Series

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
Alexei Lubimov chose to play these works by CPE Bach on a tangent piano, a very rare keyboard instrument with an unusual sound. From the middle of the eighteenth century the tangent piano became popular because it could offer more a expressive and intense sound than the harpsichord, and thereby could respond to the changes in the Zeitgeist. It is no accident that all three of the great Viennese composers – Haydn, Mozart and Beethoven – named the ‘Hamburg Bach’ (Carl Philip Emanuel Bach), as their model. As he grew into maturity, CPE’s interest in keyboard music increasingly came to hone in on three genres: the fantasy, the rondo and the sonata. The present album is devoted to all three, plus a few lesser pieces to which the composer gave the title solfeggi. Six of the major pieces proposed by Alexei Lubimov are taken from the great collections known as “für Kenner und Liebhaber”, for connoisseurs and amateurs written between 1779 and 1787. The smaller pieces are taken from other printed collections Keyboard pieces of various kinds and Musical miscellany, published 1765. The listener may thus compare styles of works written at the very end of the Baroque period, and others composed during a time when Haydn and Mozart were already  stars. Lubimov plays a modern copy of a Späht und Schmahl tangent piano built between 1794.
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Piano solo - Verschenen op 27 oktober 2008 | MONSIEUR CROCHE

Booklet Onderscheidingen 5 de Diapason - Pianiste Maestro - 4 étoiles de Classica - Qobuzism
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Piano solo - Verschenen op 12 april 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
For a truly great interpretation it’s not enough just to play a historical instrument, the playing also has to be up to scratch. This recording released by the world-renowned label ECM showcases a pianist of the highest calibre playing the wonderful Viennese Brodmann piano. András Schiff captures the convergence of thought and sound remarkably well and seldom before have we been given so much insight into Schubert’s innermost thoughts. The softness and the unmistakable legato that the pianist produces on this Viennese instrument give the Sonatas D. 958 and D. 959 an indescribable feeling of nostalgia. But Schubert’s inward revolt was growing and András Schiff leads us steadily to the edge of the abyss. The crystalline sounds of the Scherzo in the Sonata D. 959 are as enchanting as the sound of ancient harpists who were so often depicted by German Romantics. This exploration into sound is also marvellous in the Impromptus D. 899 and the 3 Klavierstücke D. 946 or “Three Piano Pieces”, which have a very expressive counterpoint that differ from the unfathomable depth of the sonatas. This album is a revelation into a whole new world of sound that is unveiled as András Schiff’s fingers touch the keys. Inspiring. © François Hudry/Qobuz
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Piano solo - Verschenen op 1 september 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Exceptional sound
Fazil Say, who made his debut on this label with a very, very well-received work on Mozart’s Complete Piano Sonatas, is now turning his attention to Chopin, but a more confidential side of Chopin, much less virtuoso, the Chopin Nocturnes, the almost complete work of which he recorded in the Mozarteum Salzburg in March 2016. An “almost complete work” because the Nocturne in C-Sharp minor Op. 71/1 is missing, most likely due to CD running time restrictions as the total exceeded the limit by just a handful of seconds… Regardless the interpretation is dazzling and almost symphonic, taking these Nocturnes out of the hyper-romantic state of torpor they are so frequently plunged in by musicians. In addition to Chopin’s music, a few of Say’s short-lived grunts can also be heard who, much like Gould (albeit to a lesser extent), sometimes enjoys humming in the background. © SM/Qobuz
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Piano solo - Verschenen op 31 augustus 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional sound - 5 étoiles de Classica
The remarkable Turkish pianist Fazıl Say (born 1970) here offers us a suitably remarkable album, recorded in 2016 in the Great Hall of the Salzburg Mozarteum and given over to the Premier Livre of Debussy's Préludes – 1910 – which he sets up in against the six Gnossiennes by Satie (1890 for the first three, 1897 for the latter three) and to the pieces which made him famous, the Gymnopédies of 1888. It's quite stunning to hear these works and to reflect on the fact that Satie's works actually come before Debussy's Préludes – by almost two decades, in fact. It is hardly surprising the Satie has been thought a real avant-gardist both in his day and by minimalists today. Considering how different these two were, it was natural that they should have been friends, especially given Debussy's tendency towards jealousy of his contemporaries... But it is impossible to be jealous of a kind, bubbly soul like Satie. Say brings immense tenderness to these two opposite poles – poles so far removed that they almost join back up. © SM/Qobuz
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Piano solo - Verschenen op 28 september 2018 | ARTALINNA

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Choc de Classica
Considered as one of the most inspired pianists of his generation, Severin von Eckardstein explores three major cycles of French music from the 1900s, associating Claude Debussy’s two revolutionary books Images (1904-1907) and Gabriel Dupont’s La Maison dans les dunes (1907-1909) as part of this debut album under the Artalinna label: this suite of 10 pieces with memorable atmospheres filled with luminous colours and heady melodies will stand out for many as a musical revelation! © Artalinna
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Piano solo - Verschenen op 8 september 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - Choc de Classica - Choc Classica de l'année
With his 60th birthday approaching, the Polish pianist Krystian Zimerman thought it was time “to find the courage for works such as these and the last Beethoven sonatas. I’ve played these pieces for 30 years, but always feared them tremendously because of my unbelievable respect for the composers. Perhaps I worried that if I left them any longer, it would be too late.” Zimerman has used a normal piano, but fitted with a keyboard made by himself, designed to create qualities Schubert would have known in his instruments. Compared to a modern grand piano, the hammer strikes a different point of the string, enhancing its ability to sustain a singing sound – though it does also set up different overtones and the piano might sound strangely tuned. Also, the action is lighter. On a modern grand piano the many repeated notes in Schubert could turn into Prokofiev. According to Zimmerman, these two last Sonatas contribute significantly to our view of Schubert’s greatness, as “he switches into a different gear, daring radically to use new ideas in harmony and polyphony. Compared to his earlier sonatas, they could almost be by another composer.” The album was recorded in January 2016.
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Piano solo - Verschenen op 3 november 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik