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Klassiek - Verschenen op 18 oktober 2019 | Channel Classics Records

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On their second duo album, baritone Thomas Oliemans and pianist Paolo Giacometti record the most celebrated of all Lied repertoire: Franz Schubert’s Winterreise. “When I was a child, a number of volumes in my father’s bookcase, too thick and doubtlessly too difficult for me, already exercised an irresistible attraction. They cried out to me from the shelf: intriguing titles which promised a magic mountain, something about a hundred years, loneliness and searching for lost time. I started to read many of them too early, I got through some with goose flesh, while others forced me to throw in the towel in despair. In music I had a predilection for heavy symphonies, huge gestures and extensive forms, and I hunted down repertoire and sound worlds that were new to me. (…) In my hunger to discover repertoire as yet unknown to me, one day I came across Winterreise in the first volume of the Peters edition of Schubert songs. The title intrigued me straightaway, just as much as those books, but it seemed equally unapproachable. (…) As each year passes it has become a work to turn back to again, to measure myself against, to immerse myself in; what is more, as soon as thehurdy-gurdy man has turned his handle for the last time, it seems to invite me to open the score once more at page one and try yet again to conquer this magic mountain of the lied repertoire.” (excerpts from liner notes) © Thomas Oliemans, August 2019/Channel Classics
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Kwartetten - Verschenen op 10 september 2018 | Channel Classics Records

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Klassiek - Verschijnt op 8 november 2019 | Channel Classics Records

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Klassiek - Verschenen op 16 november 2018 | Solo Musica

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Klassiek - Verschenen op 26 januari 2018 | Evidence

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Klassiek - Verschenen op 1 februari 2019 | ART_INFINI

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Klassiek - Verschenen op 16 oktober 2015 | naïve

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
Described by the prestigious British music magazine Gramophone as ‘the most innovative and transcendent interpreter of all’ for his work in Rachmaninov and Prokofiev, as well as being capable of a grand refinement and a ‘crystalline beauty’ (The Financial Times) in Mozart and Schubert, Nikolai Luganski is an extraordinarily deep and versatile pianist. His CD recital of sonatas for piano by Rachmaninov won him a Diapason d’or and an ECHO Klassik prize, whilst his recording of the concertos of Grieg and Prokofiev was awarded an ‘Editors Choice’ by Gramophone. His previous recordings were also greeted with many awards, including a second Diapason d’or, the BBC Music Magazine Award, and a prize from ECHO Klassik. Here, he performs one of the ultimate Schubert sonatas, the incredible and titanic Sonata in C minor, which was written in the summer of 1828, a few months before the death of the composer. We hear – and Luganski emphasizes – the resonant impact of the last sonatas by Beethoven, by which Schubert was so fed and freed. The symphonic dimensions of this sonatas require an interpreter with strong shoulders, therefore: enter Luganski. Shortly before this work, Schubert composed his second collection, Impromptus, which hit somewhere between poetry and sombre savagery, as the Russian interpreter endorses here.
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Kwartetten - Verschenen op 7 september 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
‘When we approach a composer, we like to immerse ourselves in his or her early works, in order to understand the evolution of the person behind the score. ‘It was quite naturally that the idea emerged of coupling a youthful quartet, no.10, composed at the age of sixteen, with a masterpiece by the mature Schubert, the “Death and the Maiden” Quartet no.14. As in the case of Mozart on our first recording, we wanted to present two different atmospheres with two quartets by the same composer. ‘This journey through time sheds a new light on the later works, because the process of getting to know the young Franz Schubert naturally means deepening our knowledge of his language, but also allows us to refine our appropriation of the style, sound and articulation specific to him. ‘In Quartet no.10, we tried to achieve purity in our playing, a crystalline sound that allows the music to unfold in the most fluid and natural way, keeping in mind the intimacy of the family living room for which these pages were written. ‘In no.14, more tormented, brusquer, more intense, we attempt to pay homage to the work’s symphonic dimension, and to its most sombre, most violent asperities. ‘Two sides to one man: the bright and dark faces of Schubert.’ Quatuor Van Kuijk © Outhere Music