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Piano solo - Verschenen op 24 april 2020 | Sony Classical

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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 29 november 2019 | Sony Classical

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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
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Piano solo - Verschenen op 5 juli 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 17 mei 2019 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Piano solo - Verschenen op 1 maart 2019 | Ilona Records

Hi-Res Booklet
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Piano solo - Verschenen op 1 februari 2019 | SOMM Recordings

Hi-Res Onderscheidingen Gramophone Editor's Choice - Choc de Classica
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Piano solo - Verschenen op 27 april 2018 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 2 april 2018 | Bion Records

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Piano solo - Verschenen op 16 maart 2018 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen 5 de Diapason
A brainchild of two veterans of the Philips label – including Tom Deacon, the instigator of the phenomenal "The Great Pianists of the 20th Century" in the 1990s – this re-release of the recordings of the complete works of Debussy played by Hans Henkemans for the Dutch label from 1951 to 1957 will remain one of the most beautiful celebrations marking this centenary year. These historic recordings, which have yet to be released as a single collection, were made at about the same time as the recordings by Marcelle Meyer (Les Discophiles Français), Albert Ferber (Ducretet-Thomson), Walter Gieseking (His Master's Voice), Menahem Pressler (MGM Records) and Reine Gianoli (Westminster): but they stand out from their contemporaries for their concern for textual precision and above all a complete absence of impressionism. The composer Hans Henkeman, born in 1913 and a major figure in the musical life of the Netherlands from the 1930s to the 1960s, was mainly interested in the range of the French composer's rhythmic vocabulary. Very often, and in particular in modern cycles (Estampes, Images, Children's Corner), the rhythm seems to overshadow the purely harmonic aspect, even if Hans Henkemans' naturally clear and limpid piano playing style reproduces these elements of Debussy's musical world without adulteration. Reflets dans l’eau stuns with its rapid tempo, its somewhat pithy expressiveness, but also with its fiery surges, its powerful accents in the fortissimo passages: there is also a freedom, a great broadness, in Henkemans' piano, which lends an almost austere aspect to the music's overall rhythmic stature. Moreover, Cloches à travers les feuilles, the greatest and also the most difficult of the Images pour piano, surprises the listener as much for its variations at a fulgurating tempo as for the great clarity of its articulation. But for many, the best of Henkemans' treasury of Debussy remains the 12 Etudes, where, naturally, his strict and utterly original playing style is perfectly matched to this mature, extreme cycle. Few musicians have brought such speed to Pour les degrés chromatiques or such a rage to Pour les agréments. Stunning! As Tom Deacon quite rightly puts it in the liner notes, "these interpretations can and should be seen as the forerunners of the modern approach to Debussy represented by the late Charles Rosen, Arturo Benedetti Michelangeli, and even the young Michel Béroff as well as by the conductor Pierre Boulez, all of whom worked to strip the carbuncles from Debussy's music that are simply the result of the normal wear and tear of successive generations of mis(or should I say over-)interpretations. This re-release should really set the record straight. © PYL/Qobuz
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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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Piano solo - Verschenen op 3 november 2017 | Le Palais des Dégustateurs

Hi-Res Booklet Onderscheidingen Choc de Classica
Not to be confused with the pianist Lazar Berman (1930-2005), Boris Berman (*1948) is a well-known name in his own right among Russian Jews. Boris, a disciple of Lev Oborin, and therefore a descendant of the Igumnov branch of the famous Russian school of piano, can boast of a fairly unique career: from the 1960s, he was interested in baroque music, to the point of joining (as a harpsichord player) the only ensemble playing ancient music which was then active in Moscow. This, of course, never stopped him from frequently playing the works of Alfred Schnittke or Edison Denisov, or from overseeing Soviet performances of the works of decadent Western capitalist composers like Schönberg, Stockhausen, Berio or Ligeti. In 1973, Berman was able to leave the USSR for Israel, moving shortly thereafter to the USA, where he still lives. His new Debussy album – Debussy being a composer particularly close to his heart, and to whom he has already dedicated two records – allows him to explore the two books of the Préludes and then the Estampes (as well as a handful of isolated pieces) which we might call solid: a thousand miles from the airy efforts which are all too often labelled as impressionism: this is a solidity without any kind of aggression, and it comes with all the sensitivity which is so needed in this translucent and perfumed music. © SM/Qobuz
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Piano solo - Verschenen op 20 oktober 2017 | Paraty Productions

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Piano solo - Verschenen op 13 oktober 2017 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 29 september 2017 | Ameson

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Piano solo - Verschenen op 25 augustus 2017 | ECM New Series

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
Alexei Lubimov chose to play these works by CPE Bach on a tangent piano, a very rare keyboard instrument with an unusual sound. From the middle of the eighteenth century the tangent piano became popular because it could offer more a expressive and intense sound than the harpsichord, and thereby could respond to the changes in the Zeitgeist. It is no accident that all three of the great Viennese composers – Haydn, Mozart and Beethoven – named the ‘Hamburg Bach’ (Carl Philip Emanuel Bach), as their model. As he grew into maturity, CPE’s interest in keyboard music increasingly came to hone in on three genres: the fantasy, the rondo and the sonata. The present album is devoted to all three, plus a few lesser pieces to which the composer gave the title solfeggi. Six of the major pieces proposed by Alexei Lubimov are taken from the great collections known as “für Kenner und Liebhaber”, for connoisseurs and amateurs written between 1779 and 1787. The smaller pieces are taken from other printed collections Keyboard pieces of various kinds and Musical miscellany, published 1765. The listener may thus compare styles of works written at the very end of the Baroque period, and others composed during a time when Haydn and Mozart were already  stars. Lubimov plays a modern copy of a Späht und Schmahl tangent piano built between 1794.
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Piano solo - Verschenen op 6 januari 2017 | SOMM Recordings

Hi-Res Booklet Onderscheidingen Diapason d'or
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Piano solo - Verschenen op 16 september 2016 | CAvi-music

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 5 februari 2016 | BIS

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Piano solo - Verschenen op 1 januari 2016 | Timpani

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