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Klassiek - Verschenen op 27 juli 2018 | Sony Classical

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Kamermuziek - Verschenen op 6 december 2019 | BIS

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Klassiek - Verschenen op 18 maart 2016 | Deutsche Grammophon (DG)

Booklet Onderscheidingen Diapason d'or
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Kamermuziek - Verschenen op 5 juli 2019 | Orchid Classics

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Kamermuziek - Verschenen op 2 augustus 2019 | DUX

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Klassiek - Verschenen op 1 januari 2000 | BIS

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Klassiek - Verschenen op 1 november 2005 | Nonesuch

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Kamermuziek - Verschenen op 5 juli 2019 | IBS Classical

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Klassiek - Verschenen op 12 augustus 2016 | Ondine

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 26 oktober 2018 | Mezzoforte

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Klassiek - Verschenen op 1 januari 1981 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 14 maart 2008 | Warner Classics

Booklet
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Kamermuziek - Verschenen op 7 juni 2019 | BIS

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Kamermuziek - Verschenen op 1 december 2017 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
Yes, yes, we know: Schumann's Piano Quartet and Brahms's Piano Quintet have been two of the the most-recorded pieces of chamber music for decades, and the discography boasts some runaway successes. So the four (or five, depending) soloists assembled here for the occasion are going to need to have something special up their sleeves! And they have: spirit, rugged romanticism, deep conviction - in a word, everything you need to add a beautiful stone to the Brahms-Schumann edifice. Pianist Yevgeny Sudbin has been acclaimed by the Daily Telegraph as "potentially one of the greatest pianists of the 21st century" - note the amusing caveat "potentially" - but one has to admit that he is making the most of this potential; violinist Hrachya Avanesyan took first prize at the prestigious International Yehudi Menuhin Competition in 2006, and then, two years later, at the International Carl Nielsen competition in Denmark. Violist Diemut Poppen studied with Kim Kashkashian, Yuri Bashmet, Frans Brüggen and Heinz Holliger, before launching into a particularly brilliant chamber music career... As the reader will have gathered, these musicians have got what it takes. © SM/Qobuz
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Duo´s - Verschenen op 14 september 2018 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The violin sonatas of Johannes Brahms were the product of much self-critical reflection, and the three surviving works are from a composer mature in years. Composed around the same time as the Violin Concerto (No. 1), the Piano Trio in C Minor and the Cello Sonata No. 2 (Nos. 2 and 3), they also echo some of his songs, such as those written to poems by Klaus Groth. Into this Romantic atmosphere come new performances of the three works on Glossa, played by violinist Leila Schayegh (particularly awarded for her recordings of Bach, Caldara and Benda), teaming up here with pianist Jan Schultsz. Schayegh plays a copy of a period violin, whilst Schultsz uses an original 1879 Streicher instrument. The two players aim to recapture the performing tradition as the composer would have known it, and within which he would have intended his pieces to have been played. Schayegh and Schultsz worked with Clive Brown and Neal Peres Da Costa in their efforts to aim for “the spirit rather than the dead letter of the score” and they pay admirable notice of important interpretative questions for music of this time – and they provide an intuitive musical and emotional response to the lyricism of the first two sonatas and the darker-hued tones of the third, investing these late-nineteenth-century works. © Glossa
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Klassiek - Verschenen op 1 januari 1985 | Deutsche Grammophon (DG)

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Missen, passies, requiems - Verschenen op 4 januari 2019 | Glossa

Hi-Res Booklet
Johannes Brahms’ consolatory Ein deutsches Requiem receives a fresh and considered interpretation from Daniel Reuss and the Orchestra of the Eighteenth Century. This renowned orchestra took the decision – following the death, some years back, of Frans Brüggen – to retain its founder’s dynamic process of alternating concert tours with recordings. And dispensing with the need for having a principal conductor, the orchestra now works with a range of musicians according to the repertoire being performed. Such a conductor is Daniel Reuss, who is also the artistic director of the Cappella Amsterdam, the choir which has frequently been appearing alongside the orchestra in recent times. A well-received reading of the Beethoven Missa Solemnis involving Reuss and the orchestra was issued by Glossa in 2017 and these musical forces have now turned their attention to Johannes Brahms’ pillar of religious music. Taped in the Rotterdam De Doelen concert hall this new recording involves Carolyn Sampson (soprano) and André Morsch (baritone) as its two soloists, in a version which attempts, as far as it is possible, to get close – in terms of tonal colours, interpretation and tempi – to Brahms’ original intentions. This extraordinary work, here maintaining a sweeping and moving spirit for some 70 minutes, contains texts from Martin Luther’s German translation of the Bible and, it is thought, was inspired by the loss of both the composer’s mother and also that of Robert Schumann. © Glossa
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Symfonieën - Verschenen op 2 augustus 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen Diapason d'or
These concert recordings give the lie in stunning style to the reputation for slowness which has dogged the great Otto Klemperer. The image of a partially-paralysed old man directing Beethoven's symphonies at a deathly slow pace is dispelled by these two concert versions of Symphony No.101 "The Clock" by Haydn and Symphony No.4 by Brahms recorded in Munich in 1956 and 1957, with the excellent Bavarian Radio Symphony Orchestra, one of Germany's best.Here is a perfectly-balanced Haydn, both biting and joyful. The opening Presto launches with sparkling élan, and sets the tone for the whole album. It reminds us how, in his youth, Otto Klemperer had always been a conductor ready to take to the barricades for contemporary music, and to play the great works of the repertoire with a style whose grandeur was only rivalled by its vivacity.His vision of the Fourth Symphony by Brahms alternates between a sense of immensity (Allegro giocoso) and a versatility in terms of tempo that most conductors today wouldn't dare tackle. He cleverly structures the Finale, to underscore the thread linking Brahms and the contrapuntists of musical history, the crowning summit of which writing being a Bach cantata and the use of a passacaglia that holds together the whole magisterial performance. Starting at a relatively moderate tempo, the movement reaches its climax, as Brahms instructs on the score (Più Allegro), in a fateful and liberating whirlwind. © François Hudry/Qobuz
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Klassiek - Verschenen op 16 november 2018 | Avie Records

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Klassiek - Verschenen op 1 november 2011 | Tudor