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Klassiek - Verschenen op 7 juli 2017 | Accentus Music

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Klassiek - Verschenen op 9 maart 2018 | Jube Classic

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Klassiek - Verschenen op 1 januari 2017 | Decca Music Group Ltd.

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Klassiek - Verschenen op 9 december 2011 | Sony Classical

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Klassiek - Verschenen op 2 maart 2018 | Edition Taschenphilharmonie

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Klassiek - Verschijnt op 14 februari 2020 | Alpha

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Klassiek - Verschenen op 12 april 2019 | Profil

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Concerten voor klavier - Verschenen op 13 september 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 6 december 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet
Recorded over the course of four concerts in Berlin in 2010, Sir Simon Rattle and “his” Berlin Philharmoniker successfully punctuate their complete collection of symphonies with these five concertos. While these were recorded before the symphonies, you can identify a distinct chamber music-like tonality, with an orchestra whose dimensions have been clearly reduced compared to the traditional size of the renowned Berlin ensemble. This integral work is first and foremost an orchestral delight thanks to the lyricism of the wind section and the silky characteristics of the strings. Far from being simply a support act to the soloist, the Japanese pianist Mitsuko Uchida, the orchestra instead seems to lead the operation with a speedy rhythm and an inimitable sense of musical rhetoric. Mitsuko Uchida almost appears to play modestly, never wanting to hog the spotlight, in a constant dialogue with the conductor. From the bonhomie of the first two concertos through to the Fifth (wrongly named the Emperor) which paved the way for the more romantic concertos, via the Fourth with its sublime Andante con moto which raises some metaphysical questions, this intimate performance cements this Beethovenian collection in its rightful era, lest we forget that these concertos were written in the first decade of the nineteenth century, in the midst of a triumphant Viennese classicism at a time when Joseph Haydn was writing his final few masterpieces and Napoleon’s Grande Armée was bombarding Vienna. With such a sonic perspective and a sound recording which never lets the piano become intrusive, these concertos which are often performed like works written fifty years afterwards, strike an instrumental balance and recover their true musical essence, which had slowly been beginning to disappear. © François Hudry/Qobuz

Symfonieën - Verschenen op 30 juni 2017 | Accentus Music

Booklet Onderscheidingen Exceptional Sound Recording - Preis der deutschen Schallplattenkritik
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Klassiek - Verschenen op 8 oktober 2008 | audite Musikproduktion

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Klassiek - Verschenen op 17 januari 2020 | Jube Classic

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Kamermuziek - Verschijnt op 7 februari 2020 | Jube Classic

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Klassiek - Verschenen op 21 mei 2012 | Sony Classical

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Klassiek - Verschenen op 21 mei 2012 | Sony Classical

Hi-Res Booklet
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Klassiek - Verschenen op 21 mei 2012 | Sony Classical

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Klassiek - Verschenen op 1 april 2012 | London Philharmonic Orchestra

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Klassiek - Verschijnt op 28 februari 2020 | deutsche harmonia mundi

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Klassiek - Verschenen op 13 december 2019 | Printemps des Arts de Monte-Carlo

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Opera - Verschenen op 29 november 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama
Created in 1804 in Vienna before an audience of French officers, none of whom understood any German, Beethoven’s only opera, Leonore, was not successful. Based on a true story which took place during the Reign of Terror of the French Revolution -- the story of an intrepid young woman who dresses up as a man in an attempt to rescue her husband, a victim of arbitrary arrest and imprisoned in a dark cell -- Beethoven took his inspiration from several sources. The story, very in keeping with the troubled times, was indeed put to music in 1798 by the French composer Pierre Gaveaux from a libretto by Nicolas Bouilly, then again a little while later in Italian, in 1804 in a smaller-scale work by Ferdinando Paër. The Italian-German composer Simon Mayr then created a “sentimental farce” in Padua not long after Beethoven’s Leonore. Having dreamed of a tragically utopian level of universal human fraternity his whole life, as well as the image of a couple whose relationship is ideally based on marriage and loyalty, Beethoven had found a story which perfectly corresponded to his own political opinions, formed as a result of the Enlightenment and the French Revolution (before the emergence of Napoleon’s power). We now know that he reworked this lyrical work twice, turning it into the format we know it as today with its new name Fidelio. For René Jacobs, the original 1804 version is preferable to the successive amendments and deletions which were made. And we can’t blame him for this, his new recording highlighting all the beauty and modernity of this unfortunately destined first version of Leonore. In 1804, Beethoven has all his resources at his disposal: it’s the year of the Eroica symphony and the Appassionata sonata. By means of his directorial verve, his acute sense of theatrics and a distinguishably well-chosen cast, René Jacobs does this original version of Leonore justice in all its wonder, with all the delights which Beethoven, worried about being portrayed at the opera, ruthlessly scored from his work. © François Hudry/Qobuz