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Solo Piano - Released September 8, 2017 | Deutsche Grammophon (DG)

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With his 60th birthday approaching, the Polish pianist Krystian Zimerman thought it was time “to find the courage for works such as these and the last Beethoven sonatas. I’ve played these pieces for 30 years, but always feared them tremendously because of my unbelievable respect for the composers. Perhaps I worried that if I left them any longer, it would be too late.” Zimerman has used a normal piano, but fitted with a keyboard made by himself, designed to create qualities Schubert would have known in his instruments. Compared to a modern grand piano, the hammer strikes a different point of the string, enhancing its ability to sustain a singing sound – though it does also set up different overtones and the piano might sound strangely tuned. Also, the action is lighter. On a modern grand piano the many repeated notes in Schubert could turn into Prokofiev. According to Zimmerman, these two last Sonatas contribute significantly to our view of Schubert’s greatness, as “he switches into a different gear, daring radically to use new ideas in harmony and polyphony. Compared to his earlier sonatas, they could almost be by another composer.” The album was recorded in January 2016.
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Quintets - Released November 3, 2017 | Deutsche Grammophon (DG)

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It is not just a matter of showbiz that sees the names of Anne-Sophie Mutter and Daniil Trifonov written in big letters on the cover of this CD (well... even bigger than Schubert's name, but let's let that lie): in fact, they play on all the pieces in the album, and in particular the famous Trout Quintet (wiith Hwayoon Lee on the viola, Roman Patkoló on the double bass and Maximilian Hornung on the cello), but also the movement of trio D 897, "Notturno" - whose name was added by an editor, whereas it appears that this was a movement originally written for the trio in B flat then set aside - and the two Lieder adapted for violin and piano respectively, by Jascha Heifetz and Mischa Elman. First among equals, Mutter leads proceedings with both energy and a delicate touch, and it's a safe bet that although this is only the latest in a long line of recordings of this quicksilver masterpiece by Schubert, it will soon find a prominent place in the discographic hall of fame. © SM/Qobuz
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Solo Piano - Released October 27, 2017 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
The third album from Lucas Debargue with Sony Classical, this is a very original programme - the previous album offered a mixture of Bach, Beethoven and Medtner - which combines two Schubert sonatas (D.874, 1823, and D.664, 1819, respectively) and the ambitious Piano Sonata No. 2 (1910-11) from Szymanowksi, with post-Regerian momentum. Lucas Debargue, who sent shockwaves at the last Tchaikovsky competition, opens his new work with Sonata in A Minor, and gives it some truly tragic, wintry tones,  in the style of certain Russian pianists (Richter, Sofronitzky, etc.): a black and white keyboard, lit up by a recording effort that in no way dulls the harmonics. The cheeriest Sonata in A Major - which was a favourite of Wilhelm Kempff - has a similarly staid character, rather reserved. To be honest, this album seems to owe more than a little to Sviatoslav Richter. If Schubert was one of Richter's "obsessions", the Piano Sonata No. 2 from Szymanowksi was also at the heart of the Russian pianist's repertoire, who performed it several times in concert (e.g. at Parnassus, the concert for the centenary of Szymanowksi's birth on 26 November 1982 in Warsaw). A convulsive, tortured work, it is made up of two amply developed movements, which are very dark, dense and complex, including a theme and variations, crowned by a tremendous fugue. © TG/Qobuz
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Lieder (German) - Released November 3, 2017 | Warner Classics

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“Nacht und Träume” takes its name from one of Schubert’s best-loved lieder, which is joined on the album by a further 10 of the composer’s songs. All performed in orchestral versions by such masters as Berlioz, Liszt, Brahms, Strauss, Webern, Britten and Schubert himself, they are complemented by three choral numbers and an orchestral interlude. The singers are rising stars – German mezzo-soprano Wiebke Lehmkuhl and French tenor Stanislas de Barbeyrac – and Laurence Equilbey conducts two ensembles she founded: the Insula orchestra and the choir Accentus. © Warner Classics
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Chamber Music - Released March 17, 2017 | harmonia mundi

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Lieder (German) - Released October 6, 2017 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or - 5 Sterne Fono Forum Klassik
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Chamber Music - Released October 13, 2017 | Alpha

Hi-Res Booklet Distinctions Diapason d'or
Following a first recording on Alpha devoted to Brahms which garnered much praise – ‘real duo playing’ said Gramophone, while Classica discerned ‘shared music making . . . a world full of nuances and subtlety, boundless sonic imagination (Marie-Elisabeth Hecker), playing of rare intelligence (Martin Helmchen)’ and awarded the disc a ‘Choc’ – the duo is reunited. Its new programme features two summits of chamber music: Schubert’s famous Arpeggione Sonata – named after a now obsolete instrument that was a cross between the guitar and the cello – and his no less celebrated Trio no.2 D929, which achieved even greater popularity thanks to Stanley Kubrick’s film Barry Lyndon. In the latter, the duo is joined by an eminent musician with whom they enjoy playing, Antje Weithaas, ‘one of the great violinists of our time’ (Fonoforum) and also one of the teachers most sought after by the young generation. For example, she taught Tobias Feldmann, the young violinist recently signed by Alpha. © Alpha Classics
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Chamber Music - Released May 18, 2018 | harmonia mundi

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Clocking in at a full hour, the Octet in F Major is one of the longest works in the chamber music repertoire. Ravaged by disease, Schubert took as his starting point, as expressly stipulated in the commission he received from the Steward of the Archduke Rodolphe, Beethoven's Septet in E-flat major Op. 20, whose fame greatly chagrined its writer. In Schubert's Octet there is a certain joie de vivre cut across, as ever with him, by occasional notes of desperation (the call of the horn in the first movement, the elegiac turns of the Adagio). In order to meet his patron's very precise specifications, he used the same instrumentation, with the addition of a second violin, and he took on the same order of movements and the same tonal pattern as the Beethovian model. But while Schubert poured his work into this mould so as to please his client, he wrote a very personal work which, by his own account, would lead him towards the great symphonic form which would appear rather later with his Symphony No. 9 in C major. Isabelle Faust and friends make you laugh and cry, moving in perfect unison from one emotion to another, never hesitating to lay this sublime music bare, without any recourse to affected vibrato or excessive expression. A performance that brings us close to the fragility of existence. © François Hudry/Qobuz
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Symphonic Music - Released September 10, 2012 | naïve classique

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Classical - Released October 14, 2013 | ARTALINNA

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Chamber Music - Released July 15, 2013 | naïve classique

Hi-Res Booklet Distinctions Gramophone Editor's Choice - RTL d'Or - Victoire de la musique - Hi-Res Audio
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Lieder (German) - Released November 3, 2014 | harmonia mundi

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Matthias Goerne's 2014 release of Winterreise concludes his series of Franz Schubert's lieder on Harmonia Mundi. This is the third recording Goerne has made of the song cycle, following his 1997 album with Graham Johnson on Hyperion, and a live recording released in 2004 on Decca, where he was joined by Alfred Brendel in a recital at Wigmore Hall. Here, Goerne and his accompanist, Christoph Eschenbach, deliver a subtle version that is full of intense darkness. The gloom and despair of the wanderer is increasingly conveyed in Goerne's singing, so by the end of the journey, the feeling of exhaustion in Der Wegweiser (track 20) and Der Leiermann (track 24) brings the point of the cycle across. The recording is reasonably close to the performers and they have credible presence, which enhances the songs' deeply personal expression. This recording attests to the continuing popularity of Winterreise, and it is one of the best of several versions to be released in 2014.
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Classical - Released January 1, 2005 | Deutsche Grammophon (DG)

This collection of all of Schubert's songs for low voice is one of the landmark recordings of the 20th century because it features two of the greatest Schubertians of their era, baritone Dietrich Fischer-Dieskau and pianist Gerald Moore. The recordings, made by Deutsche Grammophon between 1966 and 1972, come from Fischer-Dieskau's prime, when he was in his early to mid-thirties, his voice fully mature and its youthful bloom gloriously resplendent. He brought an acute, probing intelligence to everything he performed, as well as a penetrating, unmannered musicality, and those qualities are everywhere apparent in his Schubert lieder. Moore was primarily known as an accompanist, and in that role he was perhaps unsurpassed, but his contribution to the music is no way secondary. His playing has interpretive distinctiveness as well as the instinctive musicality of a performer deeply immersed in Schubert's sound world. The singer and pianist made multiple recordings of many of these songs and while aficionados may prefer a version of a song or cycle other than the one offered here, the version here is never less than superb. The set, which includes 463 songs on 21 discs, should be of utmost interest to any fans of the singer and pianist, and to anyone who loves Schubert, and to anyone who loves collaborative music-making of the highest order. The value of the limited edition set released in celebration of the singer's 85th birthday makes it a terrific bargain. The remastering is mostly exemplary and the sound is immaculate, warm, and present. There are a few technical glitches, like a slight click and skip in the introduction to "Wasserflut," but overall the sound is first-class. The balance is just about ideal; it's easy to shut one's eyes and imagine the performers there in the same room. Very highly recommended.
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Trios - Released September 23, 2016 | harmonia mundi

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Classical - Released January 1, 1997 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography
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Classical - Released January 19, 2018 | harmonia mundi

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Symphonies - Released December 1, 2017 | Phi

Hi-Res Booklet Distinctions 5 de Diapason
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Lieder (German) - Released June 15, 2015 | INA Mémoire vive

Distinctions Diapason d'or - 4 étoiles du Monde de la Musique - Timbre de platine - 10 de Classica-Répertoire - The Qobuz Ideal Discography
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Classical - Released January 1, 1988 | Deutsche Grammophon (DG)

Distinctions Diapason d'or
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Classical - Released September 23, 2016 | Mirare

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