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Concerten voor viool - Verschenen op 6 mei 2014 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
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Klassiek - Verschenen op 25 augustus 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 6 november 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
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Kwintetten - Verschenen op 10 juni 2016 | Winter & Winter

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Gramophone Editor's Choice
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Concerten voor klavier - Verschenen op 26 augustus 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Gramophone Editor's Choice - Diapason d'or / Arte - Le Choix de France Musique - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Missen, passies, requiems - Verschenen op 2 december 2016 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Award - Gramophone Editor's Choice - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 20 januari 2017 | Berlin Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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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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Volledige opera's - Verschenen op 13 oktober 2017 | Signum Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Concerten voor klavier - Verschenen op 26 januari 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Concerten voor klavier - Verschenen op 31 mei 2019 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
Jean-Efflam Bavouzet’s first three volumes of Mozart concertos with the Manchester Camerata and Gábor Takács-Nagy have been received with widespread acclaim, and so it is with some excitement that we release the keenly anticipated fourth instalment in the series. Composed within just one month in early 1785, these two concertos by Mozart are among the most popular of all his piano concertos. No. 20, KV 466 was his first concerto in a minor key, and its dark and stormy nature contrasts with the light and sunny atmosphere of Concerto No. 21, KV 467. Like so many of his piano concertos, both works were composed for the Vienna concert season and were given their premiere performances with Mozart at the keyboard. The two concertos are interspersed on this recording with a vivid performance of the Overture to Don Giovanni, which shares traits with both concertos and further demonstrates the exemplary playing of Manchester Camerata. © Chandos