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Kamermuziek - Verschenen op 1 januari 2014 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 2 juni 2015 | Timpani

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 3 juli 2015 | Genuin

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 23 oktober 2015 | Paraty Productions

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 26 mei 2017 | Accent

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
The six sonatas by Jan Dismas Zelenka ZWV 181 are among the most noteworthy pieces of chamber music of their day and are some the most difficult works in the Baroque oboe and bassoon repertoire, while also being key works of Zelenka’s musical legacy. Nowadays, Zelenka, a Czech composer who spent most of his life in Dresden, no longer needs much introduction because he finally has a firmly established place among the greatest composers of the first half of the eighteenth century. That, however, has not always been the case. His nearly forgotten music did not attract wider attention until the latter half of the twentieth century, and it was these sonatas that played an important role in this. In Zelenka’s day, collections of trio sonatas were a traditional form of presentation of a certain maturity of compositional artistry, and as a matter of fact the composer was here entering the fourth decade of his life – recent musicological research has placed their composition around the years 1721 and 1722. His sonatas likewise are not early works dependent on models. Five of the six sonatas have a four-movement layout and other external features of a sonata da chiesa in the Corelli manner, but the Fifth Sonata has a three-movement structure, quick movements in ritornello form, and other features directly alluding to Antonio Vivaldi’s chamber concertos or to the special sonata of the “auf Concertenart” type. In the application of four- part writing “con due bassi obligati”, manifesting itself in the more or less independent bassoon part or in the abundant use of counterpoint, the sonatas are exceptionally long, so they make great demands on the technical skill and endurance of the players. Zelenka’s writing, however, takes the chosen instruments into consideration by employing suitable keys, keeping in mind the need for places to breathe, etc. Another striking feature is the enormous intensity of expression. Although the composer makes plentiful use of sophisticated contrapuntal techniques and forms for the construction of broadly striding themes and for the combination of the individual voices, this “learnedness” is never at the expense of musical spontaneity. The Czech early music ensemble Collegium 1704, founded 1991 by harpsichordist and horn player Václav Luks (was formerly horn soloist of the Akademie für Alte Musik Berlin, an excellent school for historically informed performance) plays on period instruments, as may be expected. © SM/Qobuz
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Kamermuziek - Verschenen op 26 mei 2017 | Oehms Classics

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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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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Kamermuziek - Verschenen op 13 april 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Although Shostakovich's Third Quartet and his Piano Quintet have long been a part of the Belcea Quartet’s and Piotr Anderszewski’s repertoires, they had never recorded any of the composer's material. There is an interesting analogy between this point in the careers of the quartet and the pianist on the one hand and the composer's own life on the other: it was at the age of 32 that, although he was already onto his fifth symphony, Shostakovich wrote his first string quartet. For a long time his demanding attitude towards himself held him back from attempting what he saw as "one of the most difficult of all the musical genres". The impetus came – against the composer's will – from the dastardly Stalin, who had sparked the greatest crisis in Shostakovich's career: in 1936 the dictator had attended a performance of Lady Macbeth of Mtsensk, which later got an ominous review in Pravda, which growled about "chaos replacing music" and denounced "hysterical, degenerate music". The young composer ran the risk of arrest and execution: and so it should come as no surprise that after that experience he turned to the more private genre of the string quartet. Every listener can make their own between-the-lines reading of political protests or humanist messages in the work: at any rate it is very hard to see "just" pure music here, for all its fluency. That applies just as much to the Third Quartet of 1946, in which passages recalling Haydn rub shoulders with rather more violent material. The Quintet for Piano and Strings dates back to 1940, and it received the Stalin Prize – which was symptomatic of the unpredictable relations between Shostakovich and the regime, which saw him at once as traitor to the people and a model artist. The composer claimed that he added the piano part to his quintet so as to be able to play it himself, and to take advantage of whatever travel opportunities might come his way as a result...© SM/Qobuz
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Kamermuziek - Verschenen op 3 augustus 2018 | Toccata Classics

Hi-Res Onderscheidingen 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 4 januari 2019 | Toccata Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
This recording of music by Ernst Krenek (1900–91) covers almost half a century of his compositions, and shows the sheer range of his creativity: from early piano fugues written for his teacher, Franz Schreker, via elegant fin de siècle Viennese lyricism to a relaxed application of Schoenberg’s dodecaphonic technique – often enlivened with a surprising degree of charm and a knowing sense of humour. © Toccata Classics
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Kamermuziek - Verschenen op 29 maart 2019 | Warner Classics

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