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Solo Piano - Released April 12, 2019 | ECM New Series

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
For a truly great interpretation it’s not enough just to play a historical instrument, the playing also has to be up to scratch. This recording released by the world-renowned label ECM showcases a pianist of the highest calibre playing the wonderful Viennese Brodmann piano. András Schiff captures the convergence of thought and sound remarkably well and seldom before have we been given so much insight into Schubert’s innermost thoughts. The softness and the unmistakable legato that the pianist produces on this Viennese instrument give the Sonatas D. 958 and D. 959 an indescribable feeling of nostalgia. But Schubert’s inward revolt was growing and András Schiff leads us steadily to the edge of the abyss. The crystalline sounds of the Scherzo in the Sonata D. 959 are as enchanting as the sound of ancient harpists who were so often depicted by German Romantics. This exploration into sound is also marvellous in the Impromptus D. 899 and the 3 Klavierstücke D. 946 or “Three Piano Pieces”, which have a very expressive counterpoint that differ from the unfathomable depth of the sonatas. This album is a revelation into a whole new world of sound that is unveiled as András Schiff’s fingers touch the keys. Inspiring. © François Hudry/Qobuz

Solo Piano - Released November 1, 2019 | Sony Classical

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Seventeen years after his first Schubert recording, Arcadi Volodos takes us on another dive into the world of Schubert with the very great and very turbulent Sonata in A Major, D.959. Less than two months before his death, Schubert wrote this penultimate sonata, the most fully-developed in terms of the scope of its final movement. In its crepuscular light, it enfolds the darkness of human solitude in Andantino in F Sharp Minor, which protests against a cheap happiness, first with resignation and then with indignation. Then, a cheering, somersaulting call to life, a most Viennese Scherzo, full of insousiance and serenity, which comes before the final and utterly simple movement, which suffers from no "longueur", however "divine"... Preferring intimacy to ostentation, Arcadi Volodos provides a style of expression which is no less captivating for its sobriety. Going from the most gently-whispered pianissimi to extreme fortissimi, his playing style adapts from moment to moment, a velvet touch that paints unique colours. His interior style of performance, its poetic depth, mixed with the classicism of his approach to the work, all add up to an utterly simple and natural Schubertian language. Returning to the very young Schubert, this inspired recital is rounded off with three rare Minuets (including the stunning D.600, which starts out sounding like an aria by Bach), sculpted with peerless grace and purity: a fitting end to a programme of such high musical quality. © GG/Qobuz

Solo Piano - Released March 15, 2019 | Sony Classical

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Recordings of Schubert's swan song in the piano sonata genre, the Piano Sonata in B flat major, D. 960, are abundant, and Georgian pianist Khatia Buniatishvili deserves credit for trying something well out of the mainstream. This said, your reaction to the album may correspond to your general orientation toward iconoclasm. Buniatishvili's approach has the virtue of being coherent: she plays Schubert in a Lisztian way, and to underscore this she wraps up the program with Liszt's transcription of the famed song Ständchen, from the Schwanengesang cycle, D. 957. The four Impromptus of Op. 90 strike a nice balance between pianistic freedom and the intimate dimensions of these pieces; sample the final A flat major piece to hear the strongest argument for what Buniatishvili is doing here. She has a good deal of Lisztian charisma and a way of making you listen to what she's doing. The B flat major sonata you may find less satisfying. The opening movement is quite deliberate, with lots of tempo rubato, large dynamic contrasts, and pregnant slowdowns, with an enormous and not fully explicable full stop before the recapitulation begins. Other pianists (Sviatoslav Richter comes to mind) have approached the work this way, but perhaps nobody has taken the slow movement as slowly as Buniatishvili does: she takes more than 14 minutes with it, where most pianists take nine or ten. The last two movements are more conventional, and they can't quite cash the checks that the enormous first two movements are writing. This is a case where your mileage (kilometers?) may definitely vary, but where the artist definitely hasn't made safe choices. © TiVo

Classical - Released October 14, 2013 | ARTALINNA

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio

Classical - Released August 16, 2019 | Berlin Philharmonic Orchestra


Quartets - Released April 21, 2014 | Evidence

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Classical - Released October 9, 2015 | ARTALINNA

Hi-Res Booklet Distinctions Choc de Classica
Here, the young Chinese pianist Ran Jia invites us on an absolutely beautiful journey, both for her technical prowess and her expression. An alloy of lyricism and fiery spirit, every interstice demonstrates her technical skill and poetic imagination, and more broadly her affinity with one of her favourite composers: Schubert. © Artalinna / Qobuz

Symphonies - Released November 9, 2018 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik

Solo Piano - Released February 7, 2020 | harmonia mundi

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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

Classical - Released January 1, 1979 | Deutsche Grammophon (DG)

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Chamber Music - Released April 5, 2019 | audite Musikproduktion

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Classical - Released April 8, 2016 | Erato - Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik

Solo Piano - Released September 20, 2019 | PentaTone

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Swiss pianist Francesco Piemontesi interprets Schubert’s last three piano sonatas (D958-D960) on his PentaTone debut album, after years of engagement with these extraordinary works. These sonatas continue to fascinate pianists and listeners until this very day. They are arguably among the most existential music ever written for the piano, full of beauty and sadness, celebrating life and at the same time anticipating the composer’s untimely death. Even if Schubert was barely thirty years old when he wrote these works, they reveal the otherworldly and detached nature of what is often described as “late style”, while the music remains highly expressive and personal. © PentaTone

Classical - Released October 16, 2015 | naïve

Hi-Res Booklet Distinctions Diapason d'or / Arte - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
Described by the prestigious British music magazine Gramophone as ‘the most innovative and transcendent interpreter of all’ for his work in Rachmaninov and Prokofiev, as well as being capable of a grand refinement and a ‘crystalline beauty’ (The Financial Times) in Mozart and Schubert, Nikolai Luganski is an extraordinarily deep and versatile pianist. His CD recital of sonatas for piano by Rachmaninov won him a Diapason d’or and an ECHO Klassik prize, whilst his recording of the concertos of Grieg and Prokofiev was awarded an ‘Editors Choice’ by Gramophone. His previous recordings were also greeted with many awards, including a second Diapason d’or, the BBC Music Magazine Award, and a prize from ECHO Klassik. Here, he performs one of the ultimate Schubert sonatas, the incredible and titanic Sonata in C minor, which was written in the summer of 1828, a few months before the death of the composer. We hear – and Luganski emphasizes – the resonant impact of the last sonatas by Beethoven, by which Schubert was so fed and freed. The symphonic dimensions of this sonatas require an interpreter with strong shoulders, therefore: enter Luganski. Shortly before this work, Schubert composed his second collection, Impromptus, which hit somewhere between poetry and sombre savagery, as the Russian interpreter endorses here.

Classical - Released October 4, 2019 | CAvi-music

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Classical - Released January 5, 2018 | Academy Productions

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No-one could complain about a shortage of recordings of Schubert's Trios, or of Notturno: the discography boasts some truly sumptuous performances, whether by soloists assembled for the occasion (Gendron and the Menuhin siblings, Rose-Stern-Istomin, Cortot-Thibaud-Casals for the First), or existing ensembles (Beaux-Arts, Wanderer, etc.): but all the same, we can only welcome this new release from the Trio Elégiaque, made up of violinist Philippe Aïche – first violin of the Orchestre de Paris – Virginie Constant on the cello – winner of the Maria Canals prize – and François Dumont (winner of the Chopin and Queen Elizabeth prizes). The ensemble was set up a decade or so ago, and was quickly recognised as one of the most important chamber music ensembles in the European musical landscape. A first complete recording of Beethoven's Trios was unanimously hailed by critics; the ensemble also enjoys rediscovering more neglected works (or more contemporary ones), like Rimsky-Korsakov's Trio, or Pascal Dusapin's, or the 4th by Nicolas Bacri which is dedicated to Dusapin, or even the Trios of Henri-Napoléon Reber... Talk about rare! This vision of Schubert, lyrical and yet transparent, is more than a match even for its most illustrious predecessors.

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

Classical - Released August 23, 2019 | PentaTone

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Just like Pears and Britten, Ian Bostridge worked with the composer Thomas Adès on this recording of Schubert's Winterreise, made at a concert at London's famous Wigmore Hall in 2018. With his unique voice and style, the British singer divides opinion. Love him or hate him, he evokes strong feelings. As we fall into the former camp, we couldn't recommend this recording strongly enough. It is very different from the studio version recorded some years before for EMI, with the great Norwegian pianist Leif Ove Andsnes. Compared to that splendid record, this new version is simpler, almost calmer. Thomas Adès makes use of original manuscripts to build a fine accompaniment, that gives voice to the overwhelming melancholy of the young composer who knows himself to be doomed. Fatal wanderings, seen through a lens of solitude, regret and resignation. The first volume of a trilogy which will eventually bring together Schubert's great cycles, in live recordings by these same musicians. © François Hudry/Qobuz

Lieder (German) - Released November 3, 2014 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Le Choix de France Musique - 4 étoiles Classica
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.

Classical - Released March 27, 2015 | ECM New Series

Hi-Res Booklet Distinctions Gramophone Record of the Month - Gramophone Editor's Choice