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Kamermuziek - Verschenen op 6 december 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 7 juni 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 10 mei 2019 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
Brahms’ string concertos are indissolubly linked with the musicians for whom the works were written. He wrote his Violin Concerto for Joseph Joachim, and in it he combined what a contemporary critic termed ‘the great and serious’ with songful lyricism, melodic beauty, and a fiery Hungarian finale. To mend a breach with the violinist, Brahms later composed a concerto with the unusual combination of violin and cello, the latter played at the premiere by Joachim’s colleague Robert Hausmann. Neither instrument predominates in a work of reconciliation that embodies both drama and reflection. © Naxos
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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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Piano solo - Verschenen op 23 maart 2018 | Odradek Records

Hi-Res Onderscheidingen 5 de Diapason
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Vocale muziek (wereldlijk en religieus) - Verschenen op 10 november 2017 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason
The main attraction of this album is to present, in addition to a few already established recorded works such as Brahms’ Nänie, Gesang der Parzen (Song of the Fates) and Schicksalslied (Song of Destiny), the Liebeslieder Walzer in its orchestral version as imagined by the composer himself. Surprisingly while the versions for piano duet and vocal quartet have often been recorded, that is not the case for the nine waltzes selected by Brahms in 1870 for his orchestral rewriting; indeed they were only edited in the 1930s, most likely forgotten in favour of more marketable versions. Another relative rarity is the Begräbnisgesang (Burial Song) op. 13 for choir and wind, an instrumentation that made the work usable for outdoor celebrations. The excellent Eric Ericson Chamber Choir, funded in 1945 by the notorious choral conductor, accompanied by the Gävle Symphony Orchestra from Sweden perform these sumptuous pieces in a stunningly beautiful recording. © SM/Qobuz
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Klassiek - Verschenen op 5 mei 2017 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Duo´s - Verschenen op 6 mei 2016 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Qobuzism
Marie-Elisabeth Hecker made her entry into the ‘big leagues’ by winning first prize in the Rostropovich Competition in Paris back in 2005. Her international career was simultaneously launched on the back of this great success. Born in 1987 in Zwickau, the young cellist has studied with Steven Iserlis, Bernard Greenhouse and even Gary Hoffman. She has performed as a soloist with the Russian Symphony Orchestra, the Mahler Chamber Orchestra, the Kremerata Baltica, the Mariinsky Orchestra, the Philharmonia Orchestra, the Munich and Dresden Philharmonic Orchestras, the Staatskapelle Berlin, the Vienna Symphony Orchestra, Orchestre de Paris… the list goes on. Her experience has seen her work with conductors such as Yuri Temirkanov, Yuri Bashmet, Gidon Kremer, Valery Gergiev, Fabio Luisi, Marek Janowski, Emmanuel Krivine, Christian Thielemann or even Daniel Barenboim. Here, with her musical partner (and husband) pianist Martin Helmchen for their first duo album; the two musicians met at the Lockenhaus Festival at which time they performed another one of Brahms sonatas: Proust's Madeleine! More than twenty years separate the two sonatas for cello and piano, the first from 1862 – the composer had not yet turned 30 – and the second from 1886, by which time he had nothing left to prove to anyone. Hecker-Helmchen thoroughly master this repertoire. A coup for this first album as a duo. © SM / Qobuz
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Klassiek - Verschenen op 4 november 2014 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 1 januari 2013 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Religieuze vocale muziek - Verschenen op 15 oktober 2010 | RCA Red Seal

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - Choc Classica de l'année - Hi-Res Audio