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Klassiek - Verschenen op 21 mei 2012 | Warner Classics

Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 28 februari 2011 | Warner Classics

Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Klassiek - Verschenen op 2 maart 2009 | Warner Classics

Booklet Onderscheidingen 5 de Diapason
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Concertmuziek - Verschenen op 1 september 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
The previous batch from the 2015 Lugano Festival was especially rich, with many of the chosen moments being particularly thrilling (Brahms’ Trio, Poulenc’s Sonata for two pianos). The 2016 Festival would in turn see one great event: the tremendous Martha agreed to play on stage, for the first time in more than thirty years, Ravel’s Gaspard de la nuit. She was worried at the thought of measuring herself against her own success from forty years ago—she recorded in 1974 for Deutsche Grammophon a Ravel LP featuring Gaspard, Sonatine and Valses nobles et sentimentales, which is still in everyone’s memory despite its disappointing sound recording. On the spot, it’s obviously all the magic from a sound completely revealing itself, and the permanence of a vision. The truly haunted tone of Le Gibet leaves a lasting impression, Scarbo’s goblin literally shatters when Ondine, completely radiant, screams her recollections of Liszt and remembers just as much Une barque sur l’océan written a few years before. The rest of the testimonies from this 2016 Lugano Festival is as varied as usual. We’ll start with the rarity among the musical repertoire that is Busoni’s Violin Concerto, in D major (like the ones from Beethoven, Brahms, Tchaikovsky), also being the opus 35 (like the ones from Tchaikovsky, Korngold), under Renaud Capuçon’s determined bow. As for the two pianos, a classic from Argerich’s repertoire, Mozart Sonata for Two Pianos K. 488 that she’s enjoyed playing regularly with her friends for a few years, here with Sergey Babayan. And let’s not forget the very sincere Horn Trio from Brahms, with the trio Capuçon, Angelich & Guerrier (in 2015, a version without horn was unforgettable), or especially Bach’s Sonata by Martha Argerich and Tedi Papavrami, which could make us forget to not have this duo play the five other works written by Bach for the same formation. We cannot ignore the too short moment from the duo Tiempo & Lechner, as thrilling as ever, here in two Falla’s dances. During this 2016 edition, Argerich also played Ravel’s Concerto in G major. Maybe not in its most extraordinary version, but listening to its phrasings, accents, and nuances that are so personal in the Adagio assai this work remains the source of a rare emotion. May this Lugano Festival resuscitate in a few years with the participation of generous sponsors nostalgic of these incredible moments. © PYL
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Klassiek - Verschenen op 12 april 2019 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - La Clef RESMUSICA
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Concertmuziek - Verschenen op 14 oktober 2013 | Warner Classics International

Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica
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Klassiek - Verschenen op 6 april 2009 | EMI

Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 22 januari 2016 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 22 oktober 2007 | Warner Classics

Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 3 november 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
The cream of the crop of French musicians—well, okay, Swiss for the flautist Emmanuel Pahud—come together to bring us a sumptuous album devoted to Debussy’s chamber music: Edgar Moreau for the Sonata for cello and piano, Renaud Capuçon for the Sonata for violin and piano, Gérard Caussé, Marie-Pierre Anglamet and Emmanuel Pahud for the Sonata for flute, viola and harp (these three very belated sonatas are the only ones that the composer had time to finish in his planned series of “Six sonatas for various instruments by Claude Debussy, French musician”). We find the same Emmanuel Pahud performing solo for Syrinx, and the album closes with the Trio for violin, piano and cello written in a still very classic—or even conventional—style and architecture (the shadows of Franck, Massenet and Fauré undoubtedly loom) in 1880, when the composer was residing in Florence with the von Meck family. This last work was released only a hundred years later… On the piano in all the collective works, you’ll find Bertrand Chamayou. © SM