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

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica
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
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Solo Piano - Released November 22, 2005 | Nonesuch

Distinctions Diapason d'or - 4 étoiles de Classica
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Symphonies - Released February 5, 2016 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Choc Classica de l'année
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
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Trios - Released July 20, 2018 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
With this new series entitled ‘Salon de musique’, Alpha presents recordings made by artists who have enlivened the Festival of Salon de Provence for some years now: the pianist Eric le Sage, who has made many recordings for Alpha, the clarinettist Paul Meyer etc… with cellist Claudio Bohórquez, they have now put two Beethoven trios on disc. By 1798, the year Ludwig van Beethoven composed his Trio for piano, clarinet and cello op.11, he was already well-known in Vienna as a remarkable improviser and an ambitious young composer. the piece was clearly aimed at the enlightened aristocracy, as well as competent musical amateurs. This did not prevent the critics, though universally positive, from judging the score to be over-complex in places. Dedicated to the Empress Marie-Theresa of Austria, the Septet was published in 1802 by Hofmeister, and on being well-received it was then rearranged for various combinations. Beethoven himself made a version for clarinet, cello and piano, op.38 in E Flat major – the one recorded here. © Alpha Classics
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Concertos - Released January 1, 2012 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Record of the Month - Diapason d'or / Arte - Qobuzissime - Hi-Res Audio
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Masses, Passions, Requiems - Released June 3, 2016 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice - 4 étoiles de Classica
In July 2015, just eight months before his death, Nikolaus Harnoncourt conducted spiritual opus of Beethoven, the enigmatic and titanic Missa Solemnis, for a final time. It was a work that he addressed very late in his career, with 1988 being the first time. At the head of his Concentus Musicus and the Arnold Schönberg Choir, he produces an uncluttered reading, stripped of all excess weight that has restricted so many conductors in the past, including the most famous. It’s almost like attending a huge Mass! Both the Piano and silence are key, allowing the monument to emerge in all its grandeur from the calm. Suddenly the lines become clear and intelligible, the "lengths" acquire their entire purpose... what we see from the old lion Harnoncourt here is most extraordinary, with his ability to allow the listener to peer into the soul of Beethoven. If there is only one record to keep... © SM / Qobuz
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Classical - Released January 1, 1977 | Decca Music Group Ltd.

Distinctions Diapason d'or
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Duets - Released June 3, 2016 | Alpha

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Choc de Classica - Exceptional sound
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.
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Solo Piano - Released August 25, 2017 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique
Supporting new talents is in Alpha’s DNA. Here is the very first recording of the Italian pianist Filippo Gorini, who was recently awarded First Prize in the Telekom-Beethoven Competition in Bonn. He has also won the same competition’s Audience Prize twice over. At just twenty years of age, he has already played in such prestigious venues as the Berlin Konzerthaus, the Leipzig Gewandhaus, the Laeiszhalle in Hamburg, the Herkulessaal in Munich, the Liederhalle in Stuttgart, Die Glocke in Bremen, the Royal Academy of Music in London, and the Moscow Conservatory. Strongly supported by Alfred Brendel, with whom he studies, he has chosen to tackle a monument of the piano repertory, the Diabelli Variations, a work whose interpretation he has matured through frequent performance, notably at the Beethoven Competition where it was the key item in his winning programme. And, appropriately, it is at the Beethovenhaus in Bonn that he made this first disc, the start of a highly promising recording career. © Alpha
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Classical - Released May 15, 2012 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Hi-Res Audio
Even though hearing Ludwig van Beethoven's Diabelli Variations, Op. 120, performed by Andreas Staier on a fortepiano, may be the main selling point of this 2012 release on Harmonia Mundi, it seems to take second place when the CD's curiosities are considered. Viennese publisher Anton Diabelli challenged a number of Austrian composers to devise variations on his original waltz, and though Beethoven's set of 33 variations has come down to us as the most memorable result of this contest, one almost never hears any of the variations composed by the likes of Carl Czerny, Johann Nepomuk Hummel, Frédéric Kalkbrenner, Joseph Kerkowsky, Conradin Kreutzer, Franz Liszt, Ignaz Moscheles, Johann Peter Pixis, Franz Xaver Wolfgang Mozart, or Franz Schubert. Diabelli collected 50 variations from as many living composers, which he published as Part II of Vaterländischer Künstlerverein. But Beethoven's magisterial set was published as Part I, so Staier's reversal of the parts on this recording is strategic, to entice the listener to try the less familiar variations first, and even offering his own witty variation as an Introduction, before heading straightway into Beethoven's richly developed work. The recital is totally convincing, and Staier's plan works, because hearing the variations in their published order would have been anti-climactic, since Beethoven's monumental music dwarfs even the cleverest of his contemporaries' efforts. Staier's playing is energetic, fun, and exciting, and the sonorities he pulls out of the modern copy of a Conrad Graf fortepiano are surprisingly robust and in-tune. Harmonia Mundi's sound seems to come in and out of focus, due to the acoustics of the room, but overall it is a pleasantly resonant recording that gives the instrument its due.
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Classical - Released March 8, 2010 | Warner Classics

Distinctions Diapason d'or
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Concertos - Released July 1, 2013 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Chamber Music - Released December 6, 2011 | BIS

Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Choc de Classica
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.
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Duets - Released December 1, 2017 | Les Indispensables de Diapason

Distinctions Diapason d'or
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Classical - Released January 1, 2017 | Decca Music Group Ltd.

Booklet Distinctions Diapason d'or
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Classical - Released January 1, 2014 | Decca Music Group Ltd.

Distinctions Diapason d'or
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Trios - Released May 6, 2014 | BIS

Booklet Distinctions Diapason d'or - 4 étoiles de Classica
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Classical - Released January 1, 1963 | Deutsche Grammophon (DG)

Distinctions Diapason d'or - The Qobuz Ideal Discography
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Classical - Released July 1, 2013 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
£6.99

Symphonic Music - Released July 1, 2013 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or