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545 albums gesorteerd op Date: from newest to oldest en gefilterd op Piano solo
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Piano solo - Verschenen op 22 mei 2020 | Idil Biret Archive

Booklet
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Piano solo - Verschenen op 24 april 2020 | Sony Classical

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Piano solo - Verschenen op 27 maart 2020 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen Diapason d'or - 5 étoiles de Classica
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Piano solo - Verschenen op 27 maart 2020 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Piano solo - Verschenen op 13 maart 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica
What exactly is this “new path” (neuer Weg) that the infamous fortepianist Andreas Staier is inviting us on with this new album published as part of harmonia mundi’s vast Beethoven 2020-2027 project? All the works offered here were composed at the dawn of the 19th century by a young tempestuous composer who was conscious of his worth but also of his weakness as he began to feel the first effects of the deafness that would go on to take over his life. This recital is mind blowing from the first few beats of the thundering Sonata No. 16 in G major. With his crystalline, weightless fortepiano built by Mathias Müller around 1810, Staier seems to show us how much this frail instrument labours to show the full spectrum of the composer’s genius, boundary-breaking as it was at the time. The three sonatas and two series of variations that make up this programme were all published in 1802, at a time when Beethoven wanted to “start something new” at the turn of the century after the slew of revolutionary torment that had shaken Europe to its core. It was a new way of thinking for a composer who spoke with a more authoritative tone than his predecessors, in the “first person”. Andreas Staier is without a doubt one of the best possible performers to portray this new era of musical and artistic thinking that arose during a troubled time (the rise of Napoleon) when the clarity of language rivalised the closing off of individuality. © François Hudry/Qobuz
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Piano solo - Verschenen op 6 maart 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
After recording Rachmaninov's 24 Preludes and a recital dedicated to Claude Debussy for his new publisher harmonia mundi, pianist Nikolai Lugansky extends his repertoire even further with a monographic album dedicated solely to César Franck. The list of piano works by this organ-playing composer was not very extensive, so Lugansky chose to perform the Prelude, Fugue and Variation Op. 18, and theChorale No. 2 , on the piano, both in the same key. Written specifically for the piano, the two triptychs Prélude, Choral et Fugue and Prélude, Aria et Final are inspired by both Bach and Liszt and had an obvious influence on later French music, particularly with Albéric Magnard (Symphony No. 3) and all the way up to Francis Poulenc (Concerto for organ ). Nikolai Lugansky constructs these pieces like a builder, with unfailing solidity. He brings out the architecture and the projections with power and fullness, while looking for what he calls "a French sound, a beauty of sonority and refined sound without lourdeur". © François Hudry/Qobuz
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Piano solo - Verschenen op 21 februari 2020 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen Choc de Classica
Maurizio Pollini revisits Beethoven’s final three sonatas (Op. 109 to 111), forty years after recording the very same score for the first time, a score which sees the composer elevate the genre to dizzying levels of expertise. The Italian pianist explains that ever since January 1977 (the first time he recorded No. 32, Nos. 30 and 31 dating even further back to June 1975), he has continuously discovered an infinite number of details within the material and the structure over the course of the multiple times he has performed the three sonatas. Beethoven strays away from the conventions of the traditional sonata with these, something he had been doing since his Opus 27 (Quasi una fantasia, Moonlight), inserting various astonishing shapes. Thus, variation (Op. 109, Arietta of the Op. 111) and fugue (Op. 110, after that of the Opus 101) assume an innovative importance here, much like other unrestricted episodes where Beethoven appears to be expressing very personal emotions, initiating the Romantic era, where subjectivity reigns over structure. Recorded in concert, Maurizio Pollini brings a surprising amount of urgency (Op. 109) and lyricism (Op. 110) to this release that ensures its place as one of the best Pollini recitals in recent years (Beethoven, Debussy, Chopin). A must-listen. © Pierre-Yves Lascar/Qobuz
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Piano solo - Verschenen op 7 februari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama
French pianist Adam Laloum is joining prestigious label harmonia mundi for a new album dedicated to Schubert. The album is an example of this young artist’s attractiveness. Laloum makes his piano sing and offers an intensely melancholic poetic vision with a personal and smooth touch. Lesser known than Schubert’s last three sonatas, the Sonata in G major, D. 894 is one of the few pieces published when the composer was still alive. Schumann saw it as his most perfect work and Liszt loved it. The Sonata in C minor, D. 958 was edited ten years after Schubert’s death. It was composed in the fall of 1928, a few weeks before the musician’s death from syphilis. The piece is infused with Schubert’s doubts, demons and fear of his upcoming death. Adam Laloum wonderfully translates the fraternal spirit of dear Franz Schubert, who almost seems to apologize for the piece’s severity, by adding glimpses of bright recklessness or fatalism. © François Hudry/Qobuz
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Piano solo - Verschenen op 7 februari 2020 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 1 februari 2020 | Cypres

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
"D'ombres..." This program is a continuation of the first album dedicated to Debussy's Études, which revealed pianist Elodie Vignon to the public. Dutilleux has a close relationship with Debussy in his sensory approach to music. Composed just after the Second World War, his Piano Sonata reminds us, in some aspects, of Claude Debussy's Pour le piano, also composed after another Great War. The composition of the Three Preludes, spread over a period of fifteen years, testifies to the composer's desire to change his style and syntax, making it less linear and traditional. Claude Ledoux emerges from the shadows and delivers a work that seeks to translate the world in which we live, a world of silence and sound in perpetual transformation. © Cyprès
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Piano solo - Verschenen op 31 januari 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
After a first recording of Beethoven’s Diabelli Variations acclaimed by the critics ("Diapason d’Or", BBC, Guardian, Le Monde) Filippo Gorini, a student of Alfred Brendel and winner of the first Prize and Audience Prize of the Bonn Beethoven Competition in 2015, pursues a fast-growing career. Here he returns to Beethoven and tackles the perilous Sonata No. 29, ‘Hammerklavier’, which the composer himself said would pose a challenge for future generations, along with the Sonata No. 32, which according to Thomas Mann represents the supreme accomplishment of and ‘farewell’ to sonata form. © Alpha Classics
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Piano solo - Verschenen op 24 januari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
For his first album with harmonia mundi, the young and brilliant Belgian pianist Julien Libeer opted for this incongruous Bach-Bartók double-header. He stumbled across the secret affinities that link these two composers while working on pieces by each of them in parallel. "There is a bitterness in them, a rejection of any and all affectation, but also polyphonic writing of extraordinary quality and a relationship to rhythm which renders them, if not identical, then at least complementary", the performer explained. And we have to admit: this project stands up pretty well. Julien Libeer brought the two together by way of the dance suite. French Suite n° 5 and  Partita n° 2 by J. S. Bach are brought up against Suite Op. 14 and the suite Out of Doors, a masterpiece of Bartók's piano music, offering five pastoral visions of the Hungary of the 1920s. As ever, Bartók's genius transcends his folk influences and works them magisterially into the modernity of his own language. Alongside his work as a soloist and concert musician, Julien Libeer takes part in pedagogical projects that aim to share music beyond the confines of the concert or the record, in particular across nine schools in the Molenbeek district of Brussels, where he has created a high-level choir with his friend Zeno Popescu, in the hope of passing on the music bug to the young people of the neighbourhood. © François Hudry/Qobuz
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Piano solo - Verschenen op 17 januari 2020 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - Le Choix de France Musique - 5 étoiles de Classica
A soloist and revelation at the French classical music award ceremony “Victoires de la musique classique 2018”, Sélim Mazari was one of the last pupils to study under Brigitte Engerer, before attending the Conservatoire National Supérieur de Musique de Paris with Claire Désert and then moving to London to start a second Master’s degree at the Royal College. For his first solo recording, the young French pianist has opted for an album which is entirely devoted to Beethoven, recording several cycles of variations, with or without opus numbers, including the difficult “Eroica” Variations, on a theme from the ballet The Creatures of Prometheus, which he takes up again in the form of a contra-dance and, of course, as the main theme of the Finale from the composer’s forthcoming Third Symphony. Beethoven’s works without opus numbers (WoO) are more numerous than those numbered by himself or his publishers. During his youth as a virtuoso-composer, he did not approach his works with the historical perspective he would gain later in life, perhaps aware of his growing reputation and genius. The Twelve Variations on a Theme by Paul Wranitzky from 1796 already heralded the maturity and complexity that Beethoven gave to the many variations that would punctuate his entire oeuvre. Though not exactly loved by the composer, the 32 Variations in C minor are nevertheless profoundly original and allowed the young Beethoven to impress his audiences in the salons.
The Variations on an Original Theme, Op. 34 from 1802 offered a “new” way for Beethoven to free himself from his predecessors. The “Eroica” Variations occupy a dominant position in the Beethovian catalogue thanks to their pleasant, dramatic, humorous and mysterious atmospheres. © François Hudry / Qobuz
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Piano solo - Verschenen op 17 januari 2020 | La Dolce Volta

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
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Piano solo - Verschenen op 17 januari 2020 | Aparté

Hi-Res Booklet
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Piano solo - Verschenen op 17 januari 2020 | Melism

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 17 januari 2020 | Passavant Music

Hi-Res Booklet
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Piano solo - Verschenen op 6 december 2019 | TACET Musikproduktion

Booklet Onderscheidingen 5 de Diapason
At first sight, the programme of this album could seem extravagant. Indeed, it assembles into one single volume all of Brahms’ intermezzi, the works that the composer held so dear. In doing so, Evgeni Koroliov isolates them from pieces which Brahms classifies under the same opus number and whose sequence is almost too well-known by music lovers. Frustrated by this fact and inviting us to gloss over it, Koroliov instead explores a more secretive side of Brahms: one of melancholy emotions and solitary twilight walks. And the result is overall successful: there is decidedly no monotony in this suite of slow pieces which Brahms wallowed in throughout his entire life. The almost nonchalant version which the Russian pianist portrays here seems almost to be like a series of improvisations for a few select friends. The seriousness of the expression helps us understand why Schönberg referred to Brahms as “progressive”, just as the “dissonance” of opus 117 to 119 heralds the music of the future, with its harmonic audacity so displeasing to the ears of a certain Clara Schumann, to whom some of the pieces are dedicated. © François Hudry/Qobuz
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Piano solo - Verschenen op 6 december 2019 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 29 november 2019 | Sony Classical

Hi-Res Booklet
International stardom has made Lang Lang into an ambassador for the classical repertoire. Sony has chosen Beethoven's 250th birthday to release a compilation that was born of a live concert recorded in Vienna, a city which has seen the birth of so many of the composer's works. The collection takes in Sonata No.3 and No.23, also known as Appassionata. These scores are an imaginary battlefield pitting the writer's contending passions against one another. Beethoven, subject to a compulsive inspiration, uses his writing to guide, even contain, this irresistible force: the greatest liberty dammed up by reason, an apparent paradox which his art summarises well.But here Lang Lang gives us an almost fantastical Beethoven. The pianist has fun with a repertoire which exacerbates contrasts thanks to an immense palette of nuances and several liberties taken with the tempos. Although his level of technique permits him such extravagances, it must be said that he is much more conventional with Beethoven than he is with Rachmaninov. You don't fool around with the Master of Bonn. The record closes on a studio version of the first movement of Sonata No.17 (the famous Tempest), recorded for the video game Gran Turismo 5. The rather grandiloquent switch between its Largo and Allegro sections makes its mark on the text. Lang Lang serves up a very literally visual interpretation of this score, built around the most epic settings that these Beethovian storms permit. © Elsa Siffert/Qobuz