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Duets - Released August 10, 2018 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason
Two young Belgian soloists—including Lorenzo Gatto, despite the Italian consonance of the name—have been gathering for several years around Beethoven, and here is their interpretation of three Beethoven sonatas: the First written even before the end of the 18th Century—1798—, followed by the very last that is the Tenth Op. 96 from 1812—created by the infamous Pierre Rode on violin, and the archduke Rudolph of Austria who, incidentally, must have been an amazing pianist—, to finish with one of the most famous ones, the Fifth called “The Spring Sonata” (a name not chosen by the composer). Despite dating “only” from 1801, this sonata is incredibly different from the First regarding its architectural maturity, its intense lyricism and its audacities of all kinds. Gatto, who won the Queen Elisabeth Competition, plays on nothing less than the Stradivarius “Joachim”, while Libeer, a chamber music enthusiast, has a field day on a big concert piano with parallel strings and of an almost orchestral sound. Their first volume, released in 2016, was more than noticed by the critics and the audience—and was a great success on Qobuz. © SM/Qobuz
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Quartets - Released September 29, 2017 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
This 2017 release by Austria's Quatuor Mosaïques is actually the second in a series; the first box, covering Beethoven's early quartets, appeared in 1994. Whether they thought about the difficult late quartets for 23 years or other projects simply intervened, this volume has been worth the wait. (The middle quartets are apparently still to come.) As before, the Quatuor Mosaïques uses gut strings and historically authentic bows, as well as a tuning slightly below the usual A=440. There are few recordings of Beethoven's quartets made on instruments with aspects of historical construction (not really "historical instruments," for plenty of players use old instruments), and the result is immediately distinctive. The level of vibrato is low, but not outlandishly so. Instead, the most unusual aspect of the performances are their fluidity and grace, made possible by the gentle sound of the strings and by bows that do not dig into the attacks the way modern ones do. Beethoven's quartets are known for their extremity: the almost unplayable Grosse Fuge, Op. 133 (which here is made quite a bit more manageable by the historical bows), the vast and almost unthinkable modal slow movement of the String Quartet No. 15 in A minor, Op. 132, the bizarrely humorous String Quartet No. 16 in F major, Op. 135. Yet such extremity is balanced by passages of great simplicity: Beethoven offers a plethora of straightforward, hummable, folkish tunes, of which the most famous one is not in a quartet but in the finale of the Symphony No. 9 in D minor, Op. 125. Here, note the effect that the Quatuor Mosaïques' light touch has on the seven-movement String Quartet No. 14 in C sharp minor, Op. 131, which loses its ponderous qualities and emerges as a kind of suite. The group takes its tempos on the fast side in the main, and in a few places they seem to skate over the surface of the music rather than plumbing its great depths. But in the Grosse Fuge and the Op. 132 slow movement they are very strong. Recommended, and beautifully recorded.
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Chamber Music - Released September 29, 2017 | Evidence

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
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Classical - Released October 7, 2016 | Erato - Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released November 1, 2014 | Deutsche Grammophon (DG)

Booklet Distinctions 5 de Diapason - 4 étoiles de Classica
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Classical - Released February 23, 2018 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
The Triple Concerto is recorded here in concert, which is sure to guarantee a bit of spontaneity for a work of great symphonic dimensions – 35 minutes long – which owes as much to chamber music as to concert symphonies. There is still the question of whether it's better to call in an established trio for the triple soloist part: Anne Gastinel, Gil Shaham and Nicholas Angelich didn't know each other musically beforehand, and they opted, here again, for spontaneity and stepping out of the routine: which pays off brilliantly, as the orchestra is directed by Paavo Järvi, who can tailor the performances so well. His judicious eye is indispensable to this rather dense work, which tends to move in circles in terms of tonalities. The album closes with the Gassenhauer trio for clarinet (with Andreas Ottensamer), cello and piano (with the same soloists as for the Concerto), recorded in studio. The title Gassenhauer was chosen after the fact, in view of the different themes in the third movement, which came from an opera which was a smash hit in Vienna - and the Viennese slang of the day, a "hit" is called a "Gassenhauer".
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Classical - Released June 13, 2011 | Decca Music Group Ltd.

Distinctions 5 de Diapason - 4F de Télérama - Gramophone Record of the Month - Diamant d'Opéra Magazine - 4 étoiles de Classica
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Solo Piano - Released March 3, 2017 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Keyboard Concertos - Released November 3, 2014 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica - Qobuzissime
Into the crowded field containing pairings of Beethoven's first two piano concerto come pianist Louis Schwizgebel (formerly Schwizgebel-Wang) and conductor Thierry Fischer, leading the London Philharmonic Orchestra. They make a mark precisely by not treating these two Beethoven concertos as a pair, but as distinctive entities as disparate as any pair of early piano sonatas might be. The Piano Concerto No. 1 in C major, Op. 15, was actually composed after the Piano Concerto No. 2 in B flat major, Op. 19, but in the hands of Schwizgebel and Fischer, who shape both works with an unusual depth of dialogue, it is the later first concerto that really looks back to Mozart. The first-movement orchestral exposition, under Fischer, even evokes Mozart's Paris works in its smooth lightness, answered by Schwizgebel with a kind of relaxed wit that spins out into the longer Beethoven cadenza. The Piano Concerto No. 2, by contrast, is ebullient, even rollicking, with the finale taken at a brisk clip that sets Schwizgebel's sharp accents against the LPO's winds in a wiry, enthusiastic finale. These are both distinctive Beethoven performances at a very high level, and they apparently mark the beginning of a Beethoven cycle that ought to offer much to look forward to.
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Keyboard Concertos - Released March 2, 2018 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
This is the final volume in a Beethoven concerto cycle by German pianist Lars Vogt that has been generally acclaimed for its freshness and detail. Vogt both plays and conducts the Royal Northern Sinfonia, of which he is music director, and the result has been interpretations in which pianist and orchestra achieve an unusual kind of sync. The results are spectacular in the Piano Concerto No. 4 in G major, Op. 58, where Vogt eases into each movement, as it were, letting details accrete and add power. Sample the final movement, where the orchestra begins at a very low dynamic level, and Vogt weaves piano and orchestra together convincingly as the music proceeds. The first two movements open in circumspect ways but, as they develop, reveal Beethoven the virtuoso as Viennese audiences must have experienced him; note especially the curious clipped treatment of the second movement's orchestral theme, so different from the stomping giant favored by most conductors. The final diminished fifth comes out in sharp, chilling relief here. Vogt's approach is a bit less successful in the early Piano Concerto No. 2 in B flat major, Op. 19, where the syncopations ring and rock, but the basic Mozartian shapes of the themes are indistinct. Nevertheless, Vogt's Beethoven recordings are major statements, and this album is no exception.
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Classical - Released January 13, 2014 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Symphonic Music - Released December 9, 2011 | Sony Classical

Hi-Res Distinctions 5 de Diapason
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Chamber Music - Released August 27, 2009 | harmonia mundi

Booklet Distinctions 5 de Diapason - Choc de Classica
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Solo Piano - Released July 7, 2017 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
Olga Pashchenko is in the process of creating a unique place for herself in the world of the keyboard: she moves with astounding ease and skill from the harpsichord to the fortepiano, the organ and the modern piano. After a recording of Beethoven’s variations in 2015 (awarded ffff by Télérama), the young pianist has now gone to the legendary Beethoven-Haus in Bonn, a venue she knows well since she regularly gives concerts within its walls, to record three monuments of the pianistic literature – the Appassionata, Les Adieux and Waldstein sonatas – on the original Conrad Graf piano of 1824 conserved there. She utilises all the sonic possibilities and the full palette of colours of this instrument made around fifteen years after the composition of these sonatas, three of the finest in the corpus of thirty-two that Hans von Bülow called ‘the New Testament of every pianist’. © Outhere Music
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Keyboard Concertos - Released October 13, 2017 | Ondine

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released April 7, 2017 | Erato - Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica
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Classical - Released October 26, 2010 | Chandos

Booklet Distinctions 5 de Diapason
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Classical - Released January 20, 2011 | Zig-Zag Territoires

Booklet Distinctions 5 de Diapason - Choc de Classica
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Keyboard Concertos - Released November 10, 2017 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Classical - Released November 4, 2016 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Record of the Month