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Classical - Released March 1, 2019 | LSO Live

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LSO Live celebrates the 90th birthday of one of the conducting world’s greats, Bernard Haitink. Few artists have a deeper understanding of the music of Beethoven than the celebrated Dutch conductor, who is known for his mastery of the great symphonic repertoire. This album focuses on Haitink's interpretations of Beethoven's concerto writing, coupling a new recording of Piano Concerto No 2 by Maria João Pires with a virtuosic performance of the Triple Concerto by Lars Vogt, Gordan Nikolitch and Tim Hugh, which was originally made alongside Haitink's now iconic cycle of the composer's complete symphonies. © LSO Live
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Classical - Released March 1, 2019 | BIS

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Symphonies - Released January 11, 2019 | Decca Music Group Ltd.

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Classical - Released February 22, 2019 | Warner Classics

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Classical - Released March 8, 2019 | Deutsche Grammophon (DG)

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Classical - Released March 22, 2019 | Deutsche Grammophon (DG)

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Classical - Released March 1, 2019 | Chandos

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Regarded as one of the finest interpreters of classical and romantic repertoire, Imogen Cooper is internationally renowned for her virtuosity and lyricism. This recording is her sixth release on Chandos Records, following earlier discs of works by Liszt, Wagner, Brahms, Chopin, and Robert and Clara Schumann. Imogen Cooper writes: ‘Beethoven’s "Diabelli Variations" are rightly considered to be among the greatest works for solo piano ever composed, by Beethoven or anyone else. It is incontrovertible that there is not one superfluous note in this huge masterpiece – each variation is flawless in construction and imagination, and in depth of characterisation. The breadth of ideas is limitless. Each variation tells a whole story, and for all that some are connected in mood, it is no mean feat as a performer to respect the huge scope of Beethoven’s vision.’ Imogen Cooper plays a Steinway Model D, and was recorded in the concert Hall at Snape Maltings, Suffolk. © Chandos
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Classical - Released March 15, 2019 | harmonia mundi

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After "Inventions", "Revelations" is the second volume in a complete set of the Beethoven quartets that breaks new ground: it aims to regroup the works according to their position within the three broad creative divisions of the composers life the formative years, the heroic period and the late period. This programme assembles the median quartets, in other words the works that prolonged and consolidated the stylistic innovations outlined at the beginning of each of these creative periods. © harmonia mundi
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Classical - Released March 15, 2019 | Wiener Symphoniker

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Classical - Released March 15, 2019 | harmonia mundi

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After "Inventions", "Revelations" is the second volume in a complete set of the Beethoven quartets that breaks new ground: it aims to regroup the works according to their position within the three broad creative divisions of the composers life the formative years, the heroic period and the late period. This programme assembles the median quartets, in other words the works that prolonged and consolidated the stylistic innovations outlined at the beginning of each of these creative periods. © harmonia mundi
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Classical - Released March 15, 2019 | harmonia mundi

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After "Inventions", "Revelations" is the second volume in a complete set of the Beethoven quartets that breaks new ground: it aims to regroup the works according to their position within the three broad creative divisions of the composers life the formative years, the heroic period and the late period. This programme assembles the median quartets, in other words the works that prolonged and consolidated the stylistic innovations outlined at the beginning of each of these creative periods. © harmonia mundi
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Classical - Released February 22, 2019 | Universal Music Italia srL.

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Classical - To be released April 12, 2019 | Warner Classics

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Classical - Released March 1, 2019 | Sony Classical

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Classical - Released March 1, 2019 | Sony Classical

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Classical - Released March 1, 2019 | Sony Classical

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Classical - Released March 1, 2019 | Sony Classical

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Classical - Released March 22, 2019 | Paraty

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Beethoven’s Sonatas for cello and piano span his entire creative life. The two Opus 5 works were composed in 1796 and dedicated to King Frederick William II of Prussia. Beethoven, a virtuoso pianist, incorporated many of the techniques of Jean-Louis Duport, one of Frederick II’s court cellists and one of the most revered musicians of his era. The Third Sonata Opus 69 dates from the composer’s “Middle Period”, and is contemporary with the 4th and 5th Symphonies and the Razumovsky String Quartets. Dedicated to Baron Ignaz von Gleichenstein, its premiere was probably given by the cellist Joseph Linke, accompanied by Carl Czerny at the piano. The score displays brilliant thematic inventiveness in a tender, lyrical vein which reveals the proximity of the Pathétique Sonata. The two Opus 102 Sonatas were composed at the beginning of Beethoven’s visionary “Late Period”, during 1815 and 1816. They were dedicated to the Countess Marie von Erdődy. These are mature works which open the doorway to Romanticism, both in their formal freedom and in their rhythmic and melodic audacity. © Paraty
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Classical - Released March 22, 2019 | Eudora Records

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Classical - Released May 27, 2016 | Deutsche Grammophon (DG)

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One could easily lose oneself in the meanderings of the many recordings by Wilhelm Kempff, which stretch out across the 55 years from 1920 to 1975, even though he never liked playing for the microphone. But nonetheless he has always been happy to record, and would constantly polish up his technique so as to render the most faithful possible service to his art, across both his own evolution and the technological innovations that he has seen through his many years of recording, from acoustics to stereophony. The great German pianist left behind him three complete recordings of Beethoven's sonatas. The first was in the 1930s, but it wasn't quite complete; the second in the 1950s; and a final collection, brought together in this recording, from the early 1960s, with stereo sound. Recorded quite quickly, considering the volume of material involved, between January 1964 and January 1965, in the studios of Hanover's Deutsche Grammophon Gesellschaft, it represents Wilhelm Kempff's final statement on Beethoven's work, having drawn closer to it over the course of several years. While the piano isn't without the odd harsh moment, this complete recording is of very even quality, and it brings out Kempff's free playing style which had brought Beethoven into the light, avoiding the heavy-handedness which German pianists had often inflicted on the composer. This search for clarity and simplicity came close to the improvisatory style that was Beethoven's hallmark, as he quickly "noted" whatever his imagination brought forth. © François Hudry/Qobuz