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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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Classical - Released August 20, 2010 | RCA Red Seal

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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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Classical - Released September 9, 2014 | Alpha

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles de Classica
Better known for his recordings of the music of Robert Schumann and Gabriel Fauré, pianist Eric le Sage ventures into less accustomed repertoire with this Alpha disc of the last three piano sonatas of Ludwig van Beethoven. These pieces, like others among Beethoven's late masterworks, have an ineffable aura of sanctity about them, and performers approach them with a sense of awe, as well as a solid backlist of recordings that lead up to them. Le Sage doesn't have a discography of Beethoven sonatas, or even much Beethoven in his catalog at all, so his offering of the Sonata No. 30 in E major, Op. 109, the Sonata No. 31 in A flat major, Op. 110, and the Sonata No. 32 in C minor, Op. 111, may come as a surprise, or even an affront to some sensibilities. Yet he plays with the transparent touch and calm demeanor of many a master, and even though he isn't likely to be credited with a major achievement until he records the rest of the sonatas, these performances are equal in technique, physical prowess, and emotional power to many other fine renditions. The sense of transcendence that unifies these three sonatas is evident in le Sage's controlled interpretations, and he lends the music a clarity that feels a little rarefied and otherworldly, especially in the closing variations of Op. 111. On the strength of these exceptional performances, one hopes le Sage has a complete Beethoven cycle in store and that Alpha will release it soon.
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Classical - Released January 1, 2004 | BIS

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Osmo Vänskä is the Finnish conductor who first made his mark internationally in the last decade of the last millennium with his recordings of Finnish composer Sibelius. With the Finnish Lahti Symphony, Vänskä's Sibelius was a Finn's Sibelius: clear, lucid, light, luminous, muscular, and driven. Now with the new millennium, Vänskä has gone international with this recording of Beethoven's Fourth and Fifth symphonies, his first recording with the Minnesota Orchestra, and the start of a projected cycle of Beethoven's complete symphonies. Vänskä's Beethoven is a Finn's Beethoven. His Beethoven's Fourth is as light and luminous as his Sibelius' Sixth and his Beethoven's Fifth is as clear and lucid as his Sibelius' Fifth. But Vänskä is also Vänskä and his Beethoven is also muscular and driven. The strength of his sforzandos and force of his fortissimos is enormous and the drive of his Allegros and especially his Allegro con brios is immense. Vänskä's Beethoven is not a lyrical or a meditative Beethoven. The tone of the Adagio of his Fourth could be a little less spiccato and the tone of the Andante con moto of his Fifth could be a bit more cantabile. Part of the reason for the tone, of course, is the Minnesota Orchestra. An ensemble with a long history of great conductors on its way up, the Minnesota is a virtuoso orchestra but one characterized by a gutty string tone, a rough wind tone, and a raw brass tone. But their tone and their virtuosity suit Beethoven to the floor and the result of the combination of Vänskä and the Minnesota is an ideal balance of overwhelming power and relentless motion. BIS' super audio CD sound is as real as its earlier digital recordings, but with greater depth and warmth.
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Solo Piano - Released May 20, 2016 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
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.
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Symphonies - Released February 26, 2016 | Alia Vox

Hi-Res Booklet Distinctions 4 étoiles de Classica
"Jordi Savall saisit à la perfection l'energie puissante de l'oeuvre, le nuage de poudre flotte encore dans l'air." (James Jolly, Gramophone's Editor-in-Chief)
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Classical - Released May 16, 2015 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
Russian fortepianist Olga Pashchenko has had teachers on both the Russian (Alexei Lubimov) and the Western (Richard Egarr) sides, and she might be the one to put these ingredients together into a mix that makes a historical-instrument star. Here she plays a Christopher Clarke copy of a Viennese Fritz fortepiano of 1818, not exactly contemporaneous with the music involved, but close to it and just a little bit clearer sonically. The music is early-to-middle Beethoven, with the central slots occupied by two large variation sets that exemplify the fearlessly experimental streak of the young Beethoven. The more familiar of the two is the set called here by the name Prometheus Variations, Op. 35, but better known as the Eroica Variations because the theme is the same as that used in the finale of the Symphony No. 3 in E flat major, Op. 55 ("Eroica"). Pashchenko exploits her instrument's chunky, big lower register well here as the theme builds innovatively out of its bass line at the beginning. Even more striking are the 32 Variations on an Original Theme in C minor, WoO 80, issued in 1808, where Beethoven seems to begin the groundbreaking experiments with Baroque style that would characterize his later years. The variations are very brief, almost like those in a Baroque chaconne, and here again Pashchenko fills out the texture with tough, knotty details. It's an exciting performance of an important work that is primarily ignored because it was never published. Pashchenko also offers performances of the Fantasia in G minor, Op. 77, and the two "easy" sonatas of Op. 49, which in Pashchenko's hands are not so easy. Exciting, serious Beethoven in which listeners will forget they are listening to a historical instrument.
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Classical - Released November 4, 2016 | RCA Red Seal

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Solo Piano - Released October 6, 2017 | EPR-Classic

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released March 2, 2018 | Universal Music Italia srL.

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Duets - Released September 22, 2017 | harmonia mundi

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Classical - Released November 11, 2013 | Zig-Zag Territoires

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Classical - Released September 9, 2013 | Mirare

Hi-Res Booklet Distinctions Hi-Res Audio
Recording the full cycle of the 32 piano sonatas of Ludwig van Beethoven is an important accomplishment for any pianist, and in the case of Abdel Rahman El Bacha, it is also a major statement. El Bacha has lived with these sonatas for decades and found in them not only the highest forms of musical expression but also a testament to Beethoven's life and moral character. This kind of interpretation of Beethoven's music usually suggests a subjective viewpoint and a Romantic sensibility, which in lesser hands might translate into intense, passionate, and possibly chaotic performances. Yet El Bacha is quite the opposite in his playing, calmly observant of what is written on the page and collected in his emotions and expressions, leaving no doubt of his clear thinking and resolute playing. Placing the sonatas in nearly chronological order, El Bacha demonstrates not only the evolution of Beethoven's style and intellectual development, but also communicates the growth of his artistic spirit, from the refinement of the early Classical sonatas to the concentrated power and sublimity of the late works. Mirare's box set presents the sonatas on 10 CDs in paper sleeves, which are housed in a sturdy trimline package. Ostensibly a budget set, the recordings are still quite good for the clean sound and the piano's vibrant presence.
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Classical - Released September 24, 2013 | Chamber Orchestra of Philadelphia

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Classical - Released September 11, 2013 | Alpha

Hi-Res Booklet Distinctions 4 étoiles de Classica - Hi-Res Audio
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Classical - Released April 29, 2013 | Zig-Zag Territoires

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Classical - Released January 1, 2004 | BIS

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Classical - Released January 29, 2013 | Zig-Zag Territoires

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Classical - Released August 1, 2005 | BIS

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