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Piano solo - Verschenen op 23 augustus 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
We asked for this as much as we cautiously anticipated its arrival… Anxious to ensure the return of the pianist, Sony Classical – goodbye Deutsch Grammophon – rolled out the red carpet for Ivo Pogorelich. Recorded in Schloss Elmau and the Raiding Concert Hall (Beethoven in the former and Rachmaninoff in the latter) this new album delivers a wide sound of measured reverberation and embraces Pogorelich’s rough playing style as well as some of his more tender nuances. Like an iron hand in a velvet glove. Ivo Pogorelich is not playing around. For Rachmaninoff, he has chosen the second Sonata in B flat minor, op. 36 in its original, full-length version in which numerous sections disorientate the listener as they lose themselves on a hallucinogenic journey with the musician. Pogorelich progressively eases us in and wins us over by beginning with two, rarely recorded but known, Beethoven works: his sonatas no.22 in F major, op.54 and no.24 en F sharp major, op.78. The chosen listing is intelligent (with two major figures), ambitious (with its demanding score), and generous (for reasons mentioned above). It would seem we’re in familiar territory, yet nothing is less certain when Pogorelich seems to literally grab the scores by their reigns and breathe into them a sense of puissant heroism. Nevertheless, Pogorelich remains an expressive musician, scrutinising the texts with as much malice as severity despite some slower tempos. It’s as if the listing is backlit by his own personal vision for the works. © Elsa Siffert/Qobuz
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Piano solo - Verschenen op 9 februari 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica
Oh no, no, no: this is absolutely not a re-release of one of the many recordings which Murray Perahia made of Beethoven over the decades. This here is something completely new, made in 2016 and 2017, of two radically contrasting sonatas: the Fourteenth of 1801, which Rellstab nicknamed "Clair de lune" in 1832, while Beethoven merely dubbed it Quasi una fantasia, and the Twenty Ninth of 1819, Große Sonate für das Hammerklavier, written after several barren years. Perhaps, consciously or not, Perahia has coupled two works, one "before" and the other "after" - after all, he himself has known his fair share of fallow years, following a hand injury which removed him from the stage from 1990 to 2005. Whether or not it's true, it's certainly tempting to imagine. Either way, like Beethoven, Perahia made a storming return, as shown in this recent performance, in which vigour alternates with moments of intense introspection, always impeccably phrased and articulated, and deeply musical. Clearly all those years in which he concentrated almost exclusively on the works of Bach as a training regime while he waited for recovery seem to have in fact been immensely fruitful. © SM/Qobuz
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Duo´s - Verschenen op 25 augustus 2009 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Award
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Piano solo - Verschenen op 27 september 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason
Michel Dalberto has had a unique career journey. An expert of French repertoire, exemplified with his tetralogy published on Aparté (Debussy, Fauré, Franck and Ravel), he also recorded the somewhat neglected first sonatas by Beethoven in a compilation published by Erato in the 1980s. However, he thereafter dedicated himself mainly to Schubert, saving the Appassionata, Moonlight and Opus 111 for later. This album signals the end of the wait for these iconic pieces in the year of an important anniversary for Beethoven, presenting them to the listener in chronological order. From the Pathétique to Sonata n°32, op. 111, Michel Dalberto seems determined to portray Beethoven as a classical and not a pre-romantic composer, as the musical history books are often known to do. There is a real emphasis on the thematic and motivic logic of the music here. Thus the deliberately slow tempo of the Allegretto of the Sonata n°14, op. 27 manages to deconstruct the score without totally stripping it of its substance. It’s followed by the Presto Agitato, a delirious sprint with devilish articulation which is divinely transparent despite the apprehension in the highs and lows. The formidable changes in register in Beethoven’s opus are interwoven seamlessly thanks to the narrative genius of the performer (Schubert’s influence is not too far away). Indeed, Opus 111’s first movement is remarkable. The Steinway is expectedly robust, cutting even, as the pianist creates moments of orchestral sonority and weightless playing. A result which leaves the listener awestruck. © Elsa Siffert/Qobuz
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Piano solo - Verschenen op 29 november 2019 | Sony Classical

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Kamermuziek - Verschenen op 27 augustus 2009 | harmonia mundi

Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Kwartetten - Verschenen op 29 september 2017 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 22 september 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica - Choc Classica de l'année
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Kamermuziek - Verschenen op 6 januari 2020 | Melodiya

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Kwartetten - Verschenen op 27 oktober 2009 | Chandos

Booklet
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Piano solo - Verschenen op 3 maart 2017 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Trio´s - Verschenen op 27 januari 2014 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Piano solo - Verschenen op 23 februari 2018 | Fuga Libera

Hi-Res Booklet Onderscheidingen 5 de Diapason
For his fourth release on the Fuga Libera label, the pianist and fortepianist Piet Kuijken, professor at the Royal Conservatory of Brussels and the Antwerp Conservatory, presents a programme of music by Ludwig van Beethoven. The starting point of this double album is an artistic approach that is both pedagogical and musical: the first part contains pieces such as the Sonate Pathétique and the Sonata op.110 performed on a historical piano (a Tomkison original from 1808), while the second invites you to compare this with pieces of the same magnitude – the Appassionata Sonata and the imposing op.111, amongst others – played on a modern piano. A text written by the eminent musician invites you to follow the artist’s approach, within the same type of repertory when faced with these two different instruments. A sensitive and interesting album to help you discover all the different facets of this artist! © Fuga Libera/Outhere
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Duo´s - Verschenen op 20 oktober 2017 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 15 juli 2014 | Hungaroton

Piano solo - Verschenen op 17 februari 2017 | Accentus Music

Booklet Onderscheidingen Gramophone Editor's Choice
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Kamermuziek - Verschenen op 5 november 2009 | Mirare

Hi-Res Booklets Onderscheidingen Hi-Res Audio
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Piano solo - Verschenen op 15 augustus 2012 | CAvi-music

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Duo´s - Verschenen op 20 mei 2015 | UNIVERSAL MUSIC LLC

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Piano solo - Verschenen op 20 januari 2014 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - Hi-Res Audio

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Opera in het magazine