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Klassiek - Verschenen op 16 april 2007 | Alpha

Onderscheidingen 10 de Classica-Répertoire
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Klassiek - Verschenen op 1 januari 2007 | Alpha

If you love piano music of Robert Schumann, you owe it to yourself to hear this disc. To begin with, the repertoire is fabulous. The disc opens with the Piano Sonata, Op. 14, in its original five-movement form and not the more familiar three-movement form foisted on the composer by his publisher, then continues with the Impromptus on a Theme by Clara Wieck, Op. 5, in its earlier form as a set of free variations and not the more concise set of classical variations reworked by the composer years later, and finally concludes with what is arguably Schumann's greatest solo piano work, the Fantaisie, Op. 17, in its final three-movement form. Better yet, the performances are among the finest any of these pieces have ever received. French pianist Eric le Sage has the virtuoso technique to tackle the magnificently difficult March at the center of the Fantaisie and the emotional control to restrain the violent passions of the Sonata. And best of all, le Sage has the insight to create a program entirely dedicated to the ardent affair between the composer and Clara Wieck, his "distant beloved," without compromising the works' powerful musical integrity. Recorded in the Salle de musique of La Chaux-de-Fonds in Switzerland, Alpha's digital sound is neither too close nor too distant, but rather utterly natural. © TiVo
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Klassiek - Verschenen op 10 januari 2008 | Alpha

In partnership with six different instrumental soloists, French pianist Eric le Sage here demonstrates, as he also did in his 2007 Alpha recording of Robert Schumann's solo piano music, that he is deeply attuned to Schumann's characteristic balance between the passionate and the intimate. This is especially true of the first disc, on which he teams with oboist François Leleux, clarinetist Paul Meyer, violist Antoine Tamestit, and hornist Bruno Schneider in performances that emphasize the sheer loveliness of Schumann's writing; beauty of tone, balance, and melodic grace take center stage. On the second disc, le Sage teams up with violinist Gordan Nikolitch for Schumann's three sonatas for violin and piano, and the results are quite different and compelling. Here, Schumann is a more dramatic, a more driven, even a more obsessive composer. Although he sometimes seems to be pushing his technique and intonation too far, Nikolitch's dedication never falters, and his forceful interpretations are made all the more convincing by his tenacity. Le Sage responds with his most powerful playing on these two discs. Recorded in the Salle de musique of La Chaux-de-Fonds in Switzerland, Alpha's digital sound is real and natural. © TiVo
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Klassiek - Verschenen op 27 maart 2008 | Alpha

The hardest thing about performing Schumann's piano cycles isn't playing the notes. Though the notes are often exceedingly difficult -- the combination of virtuosity and sensitivity is as difficult to bring off in its way as Liszt's combination of virtuosity and velocity -- playing them correctly is only one aspect of Schumann's difficulties. And the hardest thing about performing the German Romantic's piano cycles isn't about interpreting the individual pieces in the cycles. Though the individual pieces run the gamut from deeply intimate to overtly passionate and from wildly excited to profoundly dejected, sympathetically interpreting them, too, is only one aspect of Schumann's difficulties. As Eric le Sage recognizes in this two-disc set of four of Schumann's piano cycles, the most difficult thing about performing them is holding all the exceedingly difficult and deeply poetic individual pieces in the cycles together as a single unified work. Le Sage realizes the difficulties involved because he has so clearly triumphed over them. In the most technically challenging movements of the Etudes symphoniques, le Sage plays the notes with gusto, and in the most interpretively demanding movements of Humoreske, he delves below the surface beauty to the soulful poetry beneath. But best of all, le Sage holds these works together. By molding ritardandos between movements, grasping the tempo relationships between movements, and sculpting groups of movements into larger structural units, le Sage forges each cycle into an indissoluble whole greater than the sum of its poetic and virtuosic parts. Recorded in full, clear digital sound by Alpha, the performances on this two-disc set should be heard by anyone who reveres the German Romantic's music. © TiVo
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Klassiek - Verschenen op 28 augustus 2008 | Alpha

Onderscheidingen 9 de Classica-Répertoire
Eric le Sage made his reputation with slyly sentimental Poulenc and passionately poetic Schumann recordings, and this 2008 two-disc Schumann set can only enhance and enlarge his reputation. Featuring the well-known G minor Sonata, the less well-known Novelletten and Nachtstücke, and the much less well-known Drei Phantasiestücke, Vier Märsche, and Gesänge der Frühe, these discs document not so much the pianist's growth as a musician, but his deepening love for the music. As before in this series, le Sage's touch is light but firm with a bright treble and a resounding bass, his technique is crisp and rapid with amazing dexterity coupled to tremendous strength, and his interpretations go right to the heart of the great German Romantic's music. In the G minor Sonata, le Sage not only takes seriously the opening movement's extreme tempo marking -- So rasch wie möglich (As fast as possible) -- he executes it perfectly and interprets it brilliantly, bringing out the music's restless yearning through the relentlessness of his tempo. And in movement after movement and in piece after piece, le Sage strikes the right note, catching Schumann's fantastic imagination in the Nachstücke and Phantasiestücke, his boundless energy in the Märsche, his endless tenderness in the Gesänge der Frühe, and his poetic passion in the Novelletten. Recorded as before in the Salle de musique of La Chaux-de-Fonds in Switzerland, Alpha's digital sound is ideal, placing the listener about 20 feet from the piano in a warmly reverberant hall. Not since Richter has a pianist come this close to the heart of Schumann, and anyone interested in Schumann is urged to hear these discs. © TiVo
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Klassiek - Verschenen op 5 november 2009 | Alpha

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Klassiek - Verschenen op 26 augustus 2010 | Alpha

Booklet Onderscheidingen Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 4 november 2010 | Alpha

Booklets Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Kamermuziek - Verschenen op 29 september 2011 | Alpha

Hi-Res Booklet Onderscheidingen Choc de Classica - Uitzonderlijke Geluidsopnamen - Hi-Res Audio
The works for cello and piano of Gabriel Fauré stemmed primarily from the antipodes of his career. Early on, he primarily composed miniatures, though the well-known Op. 24 Elegie was intended to be a movement of a sonata that never came to pass. The works from near the end of his life -- especially the two complete sonatas -- both feature surprisingly spirited, bright, eager moments despite the composer's failing health and hearing. Pianist Eric le Sage is joined by cellist François Salque on this impressive Alpha album. The sound quality achieved by le Sage, Salque, and the recording engineers at Alpha is what truly sets this album apart from others like it. The overall recorded sound quality is dry, crisp, close, and possessing a minimum of reverb. Even a bit more of any of these qualities and the disc would be sterile and uninteresting. But in their present combination, the outcome is one of exceptional clarity and focus, one in which listeners are transported to the very heart of the music. Salque and le Sage play with equal measures of austerity and simplicity, letting Fauré's sometimes overlooked sonatas speak to the openness and freedom achieved by the composer late in his career. The disc ends with a likewise enjoyable and gripping performance of the Op. 120 Trio with the addition of clarinetist Paul Meyer. As Vol. 1 of what is hopefully a survey of Fauré's complete chamber music, this installment is definitely worth checking out. © TiVo
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Klassiek - Verschenen op 17 april 2012 | Alpha

Hi-Res Booklet Onderscheidingen Choc de Classica - Hi-Res Audio
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Kwartetten - Verschenen op 2 mei 2012 | Alpha

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 9 oktober 2012 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - Hi-Res Audio
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Klassiek - Verschenen op 6 november 2012 | Alpha

Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 28 januari 2014 | Alpha

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - Hi-Res Audio
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Klassiek - Verschenen op 9 september 2014 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica
Better known for his recordings of the music of Robert Schumann and Gabriel Fauré, pianist Eric le Sage ventures into less accustomed repertoire with this Alpha disc of the last three piano sonatas of Ludwig van Beethoven. These pieces, like others among Beethoven's late masterworks, have an ineffable aura of sanctity about them, and performers approach them with a sense of awe, as well as a solid backlist of recordings that lead up to them. Le Sage doesn't have a discography of Beethoven sonatas, or even much Beethoven in his catalog at all, so his offering of the Sonata No. 30 in E major, Op. 109, the Sonata No. 31 in A flat major, Op. 110, and the Sonata No. 32 in C minor, Op. 111, may come as a surprise, or even an affront to some sensibilities. Yet he plays with the transparent touch and calm demeanor of many a master, and even though he isn't likely to be credited with a major achievement until he records the rest of the sonatas, these performances are equal in technique, physical prowess, and emotional power to many other fine renditions. The sense of transcendence that unifies these three sonatas is evident in le Sage's controlled interpretations, and he lends the music a clarity that feels a little rarefied and otherworldly, especially in the closing variations of Op. 111. On the strength of these exceptional performances, one hopes le Sage has a complete Beethoven cycle in store and that Alpha will release it soon. © TiVo
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Klassiek - Verschenen op 30 oktober 2015 | Alpha

Booklet
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Klassiek - Verschenen op 24 augustus 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - Le Choix de France Musique - 5 étoiles de Classica
With this new series entitled ‘Salon de musique’, Alpha presents recordings made by artists who have enlivened the Festival of Salon de Provence for some years now: the pianist Eric le Sage, who has made many recordings for Alpha, the clarinettist Paul Meyer etc… with cellist Claudio Bohórquez, they have now put two Beethoven trios on disc. By 1798, the year Ludwig van Beethoven composed his Trio for piano, clarinet and cello op.11, he was already well-known in Vienna as a remarkable improviser and an ambitious young composer. the piece was clearly aimed at the enlightened aristocracy, as well as competent musical amateurs. This did not prevent the critics, though universally positive, from judging the score to be over-complex in places. Dedicated to the Empress Marie-Theresa of Austria, the Septet was published in 1802 by Hofmeister, and on being well-received it was then rearranged for various combinations. Beethoven himself made a version for clarinet, cello and piano, op.38 in E Flat major – the one recorded here. © Alpha Classics
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Concertmuziek - Verschenen op 15 maart 2019 | Alpha

Hi-Res Booklet
With their poetry, their passionate and intimate lyricism, their refined style that gradually reveals hidden depths, the thirteen Nocturnes of Gabriel Fauré are the most significant group of works in his oeuvre for solo piano. Composed over a period of forty-six years (between 1875 and 1821), they bear witness to the composer’s remarkable stylistic evolution. From a form of expression rooted in romanticism, to an aesthetic fully aligned with 20th-century modernity, Fauré can be said to have shaped his musical personality like a sculptor. His Nocturnes are not all of equal importance, but as a whole their diversity and development offer a perfect panorama of his art. Éric Le Sage, one of the French piano school’s main representatives, whose many recordings for Alpha include the complete chamber music of Fauré, here interprets the repertoire closest to his heart. © Alpha Classics