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Duets - Released January 19, 2018 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or
Pianist Alexandre Tharaud and cellist Jean-Guihen Queyras are long-established as a duo team, but this is the first time that Queyras has joined Tharaud for an Erato recording. They have chosen works that lie at the heart of the Romantic repertoire, all by Brahms: his two cello sonatas and the duo’s own transcriptions of six of the Hungarian Dances.

Solo Piano - Released April 7, 2017 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Gramophone Award - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik

Classical - Released August 24, 2018 | Warner Classics

Hi-Res Booklet

Classical - Released January 1, 2013 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions Gramophone Record of the Year - Gramophone Record of the Month - Choc de Classica - Hi-Res Audio
For most listeners' purposes, Riccardo Chailly's set of Johannes Brahms' four symphonies will seem standard-issue, with respectable and uncontroversial interpretations from an esteemed conductor, and rich and resonant performances by the Leipzig Gewandhaus Orchestra. Even in the choice of filler pieces, the set includes the three orchestral works that are usually packaged with the symphonies: the Tragic Overture, the Haydn Variations, and the Academic Festival Overture. However, this set offers welcome suprises and extra value for the purchase. Two orchestral arrangements of the Interludes, Opp. 116 and 117 for piano, are included, along with instrumental versions of a handful of Liebeslieder Waltzes and three of the orchestrated Hungarian Dances, which may be incentives to listeners who are looking for a little more. Also included are Brahms' original version of the Andante of the First Symphony and the alternate opening of the Fourth. But no one should invest in a set solely on the basis of these extras, however unusual they may be. Since first recording the cycle with the Royal Concertgebouw Orchestra, where he offered a rather heavy-handed modern take on the symphonies, Chailly has gone back to an older, more historically informed style of playing Brahms that was familiar to conductors of the early 20th century. The music is lighter and more transparent, so in some ways, his recordings are sometimes reminiscent of classic performances by Bruno Walter, George Szell, and other revered conductors. For traditionalists, this is a fine set to own, especially if a fresh digital recording is needed.

Keyboard Concertos - Released February 23, 2018 | Sony Classical

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles de Classica
For his first album with Sony Classical, Adam Laloum returns to one of his favourite composers. He distinguished himself with his first recording in 2011, for Mirare, which contained four of the composer's major works: Variations on an original theme Op. 21 No. 1, the wonderful and too-little-played Klavierstücke from Op. 76, the two Rhapsodies Op. 79 and the 3 Intermezzi Op. 117. And so it is hardly a surprise that today he is offering up his vision of Brahms's Concertos. Sony Classical has marshalled its formidable resources: one of the best orchestras in Germany, the Rundfunk-Sinfonieorchester Berlin; and one of the young wolves of orchestral conducting from Asia (but already well-known in Europe - witness his many collaborations with the Orchestre de la Suisse Romande for Pentatone) join them twice, once in August, then in October 2016, in the Radio Berlin Großer Sendesaal, for sessions which must have been a childhood dream come true for the young Frenchman. An amazing experience! © 2018 Théodore Grantet/Qobuz

Classical - Released August 25, 2017 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
The title Brahms might seem an odd one for this collection of Brahms piano pieces, containing one piano sonata and an assortment of 12 short pieces, mostly from the end of the composer's life. Yet the program does cover a good deal of Brahms' keyboard thinking: piano compositions, except for variation sets, are sparse during his middle years. The Piano Sonata No. 3 in F minor, Op. 5, dates from 1853, when Brahms was 20: it is youthful music par excellence, with five movements and a shifting set of moods that pose interpretive challenges for the pianist. Freire has been playing the sonata since his teenage years, and he manages to make the music sound deliberate and inevitable despite its rather feverish intensity. With the exception of the final Waltz in A flat major, Op. 39, No. 15, Freire plays the rest of the music chronologically. The listener has the sense of being drawn into a vortex of complexity as each work seems to explore new structural possibilities. You could sample almost anywhere, but try the uniquely flexible tonal implications of the first of the four Klavierstücke, Op. 119, a work that shows clearly why the "conservative" Brahms was so beloved by the 12-tone composers to come. The only possible way you might not like Freire's deeply thought-out, precise performances of these is if you like your Brahms on the warmer side, but the dispassionate, investigative way Freire has it is probably the fastest way into these works that really take a lifetime to appreciate. A major Brahms release, with sympathetic engineering from Decca at the Friedrich-Ebert-Halle in Hamburg.

Trios - Released September 15, 2017 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or / Arte

Chamber Music - Released September 2, 2016 | Alpha

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
More than twelve years after its initial incursion into the music of Brahms, the Belcea Quartet now presents an eagerly awaited complete recording of his string quartets. A powerful style and a sense of musical architecture are the two qualities most often attributed to the Belcea, which is now one of the top international quartets. And those characteristics blossom to the full in Brahms. For the Piano Quintet, its members are joined by Till Fellner. This Austrian former student of Alfred Brendel is one of today’s most respected pianists, combining grace, rigour and musical intelligence. In September 2016 the Belcea Quartet will embark on a tour that will take it to the United States and most countries in Europe.

Chamber Music - Released December 1, 2017 | BIS

Hi-Res Booklet Distinctions 5 de Diapason
Yes, yes, we know: Schumann's Piano Quartet and Brahms's Piano Quintet have been two of the the most-recorded pieces of chamber music for decades, and the discography boasts some runaway successes. So the four (or five, depending) soloists assembled here for the occasion are going to need to have something special up their sleeves! And they have: spirit, rugged romanticism, deep conviction - in a word, everything you need to add a beautiful stone to the Brahms-Schumann edifice. Pianist Yevgeny Sudbin has been acclaimed by the Daily Telegraph as "potentially one of the greatest pianists of the 21st century" - note the amusing caveat "potentially" - but one has to admit that he is making the most of this potential; violinist Hrachya Avanesyan took first prize at the prestigious International Yehudi Menuhin Competition in 2006, and then, two years later, at the International Carl Nielsen competition in Denmark. Violist Diemut Poppen studied with Kim Kashkashian, Yuri Bashmet, Frans Brüggen and Heinz Holliger, before launching into a particularly brilliant chamber music career... As the reader will have gathered, these musicians have got what it takes. © SM/Qobuz

Duets - Released May 6, 2016 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Qobuzissime
Marie-Elisabeth Hecker made her entry into the ‘big leagues’ by winning first prize in the Rostropovich Competition in Paris back in 2005. Her international career was simultaneously launched on the back of this great success. Born in 1987 in Zwickau, the young cellist has studied with Steven Iserlis, Bernard Greenhouse and even Gary Hoffman. She has performed as a soloist with the Russian Symphony Orchestra, the Mahler Chamber Orchestra, the Kremerata Baltica, the Mariinsky Orchestra, the Philharmonia Orchestra, the Munich and Dresden Philharmonic Orchestras, the Staatskapelle Berlin, the Vienna Symphony Orchestra, Orchestre de Paris… the list goes on. Her experience has seen her work with conductors such as Yuri Temirkanov, Yuri Bashmet, Gidon Kremer, Valery Gergiev, Fabio Luisi, Marek Janowski, Emmanuel Krivine, Christian Thielemann or even Daniel Barenboim. Here, with her musical partner (and husband) pianist Martin Helmchen for their first duo album; the two musicians met at the Lockenhaus Festival at which time they performed another one of Brahms sonatas: Proust's Madeleine! More than twenty years separate the two sonatas for cello and piano, the first from 1862 – the composer had not yet turned 30 – and the second from 1886, by which time he had nothing left to prove to anyone. Hecker-Helmchen thoroughly master this repertoire. A coup for this first album as a duo. © SM / Qobuz

Classical - Released January 1, 1984 | Deutsche Grammophon (DG)

Distinctions The Qobuz Ideal Discography

Classical - Released April 7, 2017 | Erato - Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice - Diapason d'or / Arte - 4 étoiles de Classica

Classical - Released November 15, 2010 | Sony Classical

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Choc de Classica - Hi-Res Audio

Chamber Music - Released February 9, 2018 | EPR-Classic

Hi-Res Booklet Distinctions 5 de Diapason
The cellist Pieter Wispelwey and the pianist Paulo Giacometti have decided to record six albums comprising the complete works for duet of Brahms and Schubert. In other words, the pieces written for an instrument and piano. The instrument in question could be the cello, or the violin, the viola, etc. Because can a virtuoso cellist really resist the temptation to dip their toes into other repertoires than their own? After all, we know full well that the composers themselves wouldn't hesitate to transcribe, or authorise a transcription, of their own work for other instruments. And so here is the fourth volume of this collection, which hinges on Brahms's Sonate Op. 78, which was first written for violin in G major, here transcribed into D major by Paul Klengel in 1897; as well as the First Sonata, originally for clarinet Op. 120, by the very same Brahms. Of the latter work, we know that the composer himself transcribed it for the viola, and this transcription formed the basis for Pieter Wispelwey's own re-reading - very close to the viola part, within which he has simply transposed certain uncomfortably high passages down an octave. By way of overture we have Schubert's Rondo in B minor (1826), written for violin and piano, here brought down an octave (or two) for cello, although the change doesn't make any difference at all to the harmonic perception. © SM/Qobuz

Classical - Released February 3, 2017 | PentaTone

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
Bold, turbulent defiance sit alongside pained introspection and bittersweet reverie in this penetrating recital of Brahms piano works by the acclaimed young Russian pianist Denis Kozhukhin in his eagerly awaited second recording for Pentatone. By turns placid, sparse, restive and impassioned, the highly personal and contemplative late piano pieces of Brahms have been described as “the mirrors of his soul”. The seven pieces comprising the Fantasias, Op. 116 are quite different in mood but are nevertheless intricately constructed to produce poetic miniatures of great depth and sonority, requiring sensitive artistry to convey their sense of unity and poignancy. Brahms is in a more full-bloodied and demonstrative mood with the four character pieces in the much earlier Ballades, Op 10. But these too show moments of transcendent beauty as in the closing ballade where the tenor melody is woven into the mellifluously undulating pianissimo accompaniment. And in the rarely heard Theme and Variations, Op. 18b, Brahms makes a sumptuous and instantly seductive arrangement of the second movement of his own String Sextet, producing an arresting and magisterial work with exquisite tone colorations and a hushed, sublime ending. “Technically flawless and musically imperious” wrote Classical Source of Denis Kozhukhin, “his detail and articulation was immaculate, and his daredevil playing was thrilling … Kozhukhin was a knockout.” (a Pentatone Introduction)

Classical - Released November 17, 2017 | PentaTone


Symphonies - Released April 21, 2017 | BSO Classics

Hi-Res Distinctions Gramophone Editor's Choice

Solo Piano - Released March 18, 2016 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Pianiste Maestro - Choc de Classica - Choc Classica de l'année - 5 Sterne Fono Forum Klassik

Duets - Released October 27, 2017 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason

Symphonic Music - Released August 12, 2009 | Warner Classics International

Hi-Res Booklet Distinctions Hi-Res Audio