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Classical - Released January 1, 2010 | Decca Music Group Ltd.

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This 2011 box set brings together Alfred Brendel's first recording for Philips of the complete cycle of Beethoven's piano sonatas and his recording of all five piano concertos. Brendel was one of the handful of all-time Beethoven masters, known for his intelligent, yet entirely musical and effective interpretations. These recordings, all (including the concertos) dating from the 1970s, represent his playing at the height of his skills. Brendel did make a second set of the sonatas for Philips in the early '90s, recorded digitally, so some audiophiles may prefer the sound of those over these earlier, analog recordings, but the artistry is still in these. For the concertos, Brendel is joined by Bernard Haitink and the London Philharmonic Orchestra.

Solo Piano - Released February 9, 2018 | Deutsche Grammophon (DG)

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Oh no, no, no: this is absolutely not a re-release of one of the many recordings which Murray Perahia made of Beethoven over the decades. This here is something completely new, made in 2016 and 2017, of two radically contrasting sonatas: the Fourteenth of 1801, which Rellstab nicknamed "Clair de lune" in 1832, while Beethoven merely dubbed it Quasi una fantasia, and the Twenty Ninth of 1819, Große Sonate für das Hammerklavier, written after several barren years. Perhaps, consciously or not, Perahia has coupled two works, one "before" and the other "after" - after all, he himself has known his fair share of fallow years, following a hand injury which removed him from the stage from 1990 to 2005. Whether or not it's true, it's certainly tempting to imagine. Either way, like Beethoven, Perahia made a storming return, as shown in this recent performance, in which vigour alternates with moments of intense introspection, always impeccably phrased and articulated, and deeply musical. Clearly all those years in which he concentrated almost exclusively on the works of Bach as a training regime while he waited for recovery seem to have in fact been immensely fruitful. © SM/Qobuz

Symphonies - Released February 5, 2016 | Sony Classical

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Nothing new under the sun ? Oh but yes! This recording of the Fourth and Fifth Symphonies of Beethoven by the venerable Nikolaus Harnoncourt lives and breathes brand new. The difference is most notable seeing as he calls on an instrumentarium (along the lines of what Beethoven had in his time) particularly wind-based, whose sound is frankly different from what we know today. Listeners beware: you'll never listen to these two Beethoven symphonies with the same ear once you've had a taste of the original fountain that is sourced here in the 85th year of Harnoncourts wonderful musical mind © SM / Qobuz

Chamber Music - Released August 27, 2009 | harmonia mundi

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Trios - Released February 24, 2014 | harmonia mundi

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Duets - Released June 3, 2016 | Alpha

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The adventure began in 2012, when Gilles Ledure, director of Flagey (Brussels), suggested to Lorenzo Gatto and Julien Libeer they should perform the complete Beethoven violin sonatas there. For these two artists, Beethoven was ‘perhaps the first composer in our history to have embodied the values of the Enlightenment in both his music and his life’. Haunted by these monuments of architecture and expression, they decided to embark on a recording. Here are three sonatas recorded in the legendary Salle de Musique of La Chaux-de-Fonds, including the famous ‘Kreutzer’ Sonata. Since his version of the Beethoven Violin Concerto (ZZT 354), Lorenzo Gatto has taken his place among the violinists who matter on the international scene.

Jazz - Released January 30, 2015 | ACT Music

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Classical - Released January 1, 2014 | Decca Music Group Ltd.

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Duets - Released September 22, 2014 | harmonia mundi

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Solo Piano - Released May 20, 2016 | Alpha

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He is nicknamed ‘the poet of the piano’, an epithet confirmed by each of his appearances in concert or on record, most recently with his multi-award-winning Debussy and Chopin albums. Nelson Goerner already has an imposing discography, but this is the first time he has tackled Beethoven on a recording: he has chosen the ‘Hammerklavier’, a work of unparalleled dimensions, complexity and profundity . . . But is this artist, whom a Buenos Aires newspaper praised after a recital at the famous Teatro Colon for his ‘ability to combine intellectual lucidity, undeniable depth, and a technical ease that enables him to express his ideas’, not the perfect interpreter for that monumental composition? ‘Here is a sonata that will make pianists work hard’, said Beethoven to his publisher after labouring on it for almost three years, at a time when his deafness was constantly worsening. Forty-five minutes of immense difficulty for the performer (and also the listener?): between a first movement as fiery as Beethoven ever wrote and a finale that seems to foreshadow jazz improvisations, comes a splendid and deeply moving slow movement that Goerner renders with deep emotion. He then invites us to move from the monumental to the miniature, with the Six Bagatelles op.126, subtle gems of late Beethovenian style, constructed with formidable skill.

Classical - Released May 31, 2011 | RCA Red Seal

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Classical - Released October 28, 2013 | La Dolce Volta

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Chamber Music - Released December 6, 2011 | BIS

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Beethoven's trios for violin, viola, and cello remain among his least-played works. They seem to point back to the occasional chamber music of the Classical period, and if they're not given the proper attention, that's exactly what they do. But Beethoven himself thought enough even of the very early String Trio in E flat major, Op. 3 (1794), to supervise a keyboard arrangement of the work in the 1810s, and the Op. 9 set heard here, composed in 1798, is almost as ambitious as the group of Op. 18 string quartets that followed it by about a year, and for which it can be seen as a kind of study. The hard, weighty performances by the Trio Zimmermann command attention for these works. Hear the way it sculpts out the jagged opening melodic material of the climactic String Trio in C minor, Op. 9/3, or lay into the quasi-orchestral finale of the first trio of the set. There's a good deal of motivic work here that forecasts the density of Beethoven's mature chamber music language. The trio's Stradivarius and Guarneri instruments boom out attractively under the care of BIS' engineers, who worked in two different spaces: the first and third trios were recorded at a former Swedish music academy, and the second at a Berlin concert hall. The sonic environment is none the worse for that, and the album is a prime pick for anyone in search of these trios, which now seem to play a greater role in Beethoven's early output than has been realized.

Classical - Released January 1, 2012 | Decca Music Group Ltd.

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Classical - Released January 20, 2011 | Zig-Zag Territoires

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Classical - Released January 1, 2010 | Decca Music Group Ltd.

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Solo Piano - Released January 8, 2005 | BIS

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Trios - Released May 4, 2018 | Orchid Classics

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Quartets - Released September 25, 2012 | La Dolce Volta

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Solo Piano - Released January 22, 2016 | Alpha

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Perhaps no musician in the 19th century was a greater promoter of the symphonies of Ludwig van Beethoven than Franz Liszt, who not only conducted them regularly in Weimar, but made piano transcriptions of all nine, which were published together in 1865. The keyboard version of the Symphony No. 9 in D minor, "Choral," was one of the most challenging for Liszt, who agonized over making a viable arrangement of the complex choral finale, the famous setting of Schiller's Ode to Joy. Yet Liszt's bravura transcription was a success, and the Ninth was made available to musicians and listeners who, in the age before recordings, were unable to hear this work any other way. For this recording, Yury Martynov has recorded Liszt's reduction on a Blüthner piano, ca. 1867, which gives a good idea of the sonorities he would have known, though for his own performances he favored a Bösendorfer, which could withstand his powerful playing. This recording shows that the Blüthner piano is a good choice, and Martynov holds nothing back in his virtuoso performance, which offers many thrilling passages. The sound of this Alpha CD is well balanced and gives a fairly close-up impression of Martynov's playing, though there is enough space between the piano and the microphone to let the resonant church acoustics have an effect.