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Solo Piano - Released August 25, 2017 | Deutsche Grammophon ECM

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
Alexei Lubimov chose to play these works by CPE Bach on a tangent piano, a very rare keyboard instrument with an unusual sound. From the middle of the eighteenth century the tangent piano became popular because it could offer more a expressive and intense sound than the harpsichord, and thereby could respond to the changes in the Zeitgeist. It is no accident that all three of the great Viennese composers – Haydn, Mozart and Beethoven – named the ‘Hamburg Bach’ (Carl Philip Emanuel Bach), as their model. As he grew into maturity, CPE’s interest in keyboard music increasingly came to hone in on three genres: the fantasy, the rondo and the sonata. The present album is devoted to all three, plus a few lesser pieces to which the composer gave the title solfeggi. Six of the major pieces proposed by Alexei Lubimov are taken from the great collections known as “für Kenner und Liebhaber”, for connoisseurs and amateurs written between 1779 and 1787. The smaller pieces are taken from other printed collections Keyboard pieces of various kinds and Musical miscellany, published 1765. The listener may thus compare styles of works written at the very end of the Baroque period, and others composed during a time when Haydn and Mozart were already  stars. Lubimov plays a modern copy of a Späht und Schmahl tangent piano built between 1794.
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Classical - Released November 6, 2012 | Zig-Zag Territoires

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Exceptional sound - Hi-Res Audio
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Classical - Released April 8, 2014 | Zig-Zag Territoires

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica - Hi-Res Audio
Although it is played on a period instrument, no one is arguing that this recording of Haydn's The Seven Last Words of Christ is historically authentic. The work, exceptionally in Haydn's output, exists in multiple versions, for orchestra, string quartet, chorus, and keyboard (either fortepiano or harpsichord). But surely Haydn did not have the instrument heard here, the rare tangent piano, in his head. This was, speaking roughly, a piano-harpsichord hybrid that never really found its footing in the late 18th century. As long as listeners are down with the idea of a fairly speculative recording, the effect of the tangent piano in this particular work is electrifying. Lubimov gets the best of both worlds: the intimacy of the keyboard version and the dynamic contrasts and timbral shadings of the orchestral original. The keyboard transcription is not by Haydn himself but was made in his own time, and he approved it. Lubimov works from this, tweaking it and adding contrasts that break up the seven consecutive slow movements and give them an extraordinarily expressive quality. Even when listeners know it's coming, the final Terremoto movement, depicting the earthquake following Christ's crucifixion, comes as a shock. Listeners will never hear the work quite the same way again after experiencing this recording, and even if Haydn didn't intend it this way, most may well end up wishing he had.
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Classical - Released February 5, 2016 | Alpha

Hi-Res Booklet Distinctions Choc de Classica - 5 Sterne Fono Forum Klassik
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Classical - Released January 20, 2011 | Zig-Zag Territoires

Booklet Distinctions 5 de Diapason - Choc de Classica
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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 November 16, 2018 | Alpha

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
”Is it Schubert? Chopin? Or Brahms?” boldly asks the accompanying booklet for this recording of Dussek’s works. One may wonder whether there aren’t some Beethoven influences – and there are! – and even some Weber, but in fact, history runs backwards as the Concerto for 2 Pianos, Op.63 presented here dates back to 1806, the Rondo Concertant is from 1809 and the Quintet from 1799, prior (or at best at the same time) to the time when Weber conceived his great works. Indeed, many tendancies are evocative of a young Chopin and his Concertos. In many regards, Dussek was a visionary: his orchestration is particularly audacious – this is in fact more of a concert symphony than a traditional concerto – and his harmonic mood swings are especially bold and delightful … The Quintet itself is also unique: it was put together for the same unusual orchestra as Schubert’s Trout Quintet, meaning a violin, alto, cello, double bass, and piano. With its exquisitely free flowing writing, the work contains many surprises for the listener to discover on their own. The album ends with Notturno concertant for horn, violin, and piano. The two fortepianos are played by Alexei Lubimov and Olga Pashchenko, one is a copy of a Walter instrument and the other is a Longman/Clementi. © SM/Qobuz
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Solo Piano - Released June 29, 2018 | Brilliant Classics

Hi-Res Booklet Distinctions 5 de Diapason
If you had to name the bridge between Beethoven and Schubert, it would have to be Dusek. Sadly, his lack of a local following – Beethoven, Mozart, Hayden, Schubert and Brahms all had adopted home towns to root for them, after all – has made him less of an obvious choice. Born in Lithuania, he went to live in St Petersburg, where he dodged deportation to Siberia by moving to Paris, where he dodged a revolutionary tribunal by fleeing to London, which he had to leave in a hurry in order to escape prison, winding up in Hamburg... And eventually he would find himself in Prague, and, finally, Paris, where he died at the age of just 52. For this third volume of his complete sonatas, Alexei Lubimov – playing a 1799 Longman-Clementi fortepiano – has chosen two monuments of his mature period: the 18th Sonata "L'Adieu" of 1800 and the staggering 28th Sonata "The Invocation" from 1812. These works reveal a Dussek who is anchored as much in the past – with Bach's polyphonic rigour and an elegance of writing taken from Mozart and Hayden – as he is in the present, with the power of Beethoven; and indeed the future with impressive turns of harmonic and pianistic daring. His years spent with London's Broadwood piano-makers, with whom he would work on many innovations, were clearly not in vain. Alexei Lubimov studied with Heinrich Neuhaus – the great Russian piano teacher – and at the start of his career specialised in the hyper-avant-garde of Boulez, Cage and Stockhausen, before turning towards period instruments, which he was the first to bring to the very conservative Moscow Conservatory. From the 1980s he was able to excite the interest of the whole Soviet musical world in the fortepiano, before developing a global career. © SM/Qobuz
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Classical - Released January 8, 2010 | Zig-Zag Territoires

Hi-Res Booklet Distinctions Choc de Classica
Listeners who have grown up with the tone of the modern concert grand piano may find the sound of the pianoforte tiny, tinny, pingy, and plunky. But for listeners with adventurous ears, the pianoforte may offer a welcome contrast with the lusher tones and heavier sonorities of the concert grand, and for them the player will be more important than the instrument. And so it is here. Performed on two beautifully restored instruments, Aleksei Lubimov's 2009 recording of Schubert's eight impromptus delivers superb accounts of the well-loved works. Though his tempos are fairly standard, his supple phrasing, subtle shading, and use of rubato give his playing great flexibility. Lubimov makes good use of his instruments by using their innate characteristics to bring out the best in Schubert's keyboard writing so that every line is clear and ideally balanced. The digital sound is more than acceptable, but it may be a tad too tightly focused on the instrument for some listeners.
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Classical - Released January 1, 2002 | Christophorus

Distinctions 5 de Diapason
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Classical - Released September 5, 2005 | ECM New Series

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Classical - Released August 24, 2018 | Warner Classics

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Classical - Released May 1, 2005 | Naxos

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Classical - Released June 6, 2005 | ECM New Series

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Classical - Released April 27, 2012 | ECM New Series

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Classical - Released August 5, 2014 | BIS

Booklet
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Classical - Released February 12, 2016 | ECM New Series

Hi-Res Booklet
Alexei Lubimov's 2012 album of Claude Debussy's Préludes for piano is a generous offering, for in addition to presenting Books I and II complete on two discs, it also includes transcriptions for two pianos of the Trois Nocturnes and the Prélude à l'après-midi d'une faune. ECM New Series is best known for its polished releases of contemporary music, though the label has increased its catalog of early modern music, and this package is a fine addition. Lubimov plays with refinement and control in his solo performances, and his palette of tone colors is varied, with a nuanced touch and subtle shadings of phrases. The feeling Lubimov communicates is close to reverie, though the music always has shape and never becomes loose or merely atmospheric. In the transcription performances where Lubimov teams up with Alexei Zuev, there is a bolder, more direct handling of the music, perhaps in recognition of the original orchestral sound, but also because the thickened textures of two pianos admit less delicacy. The reproduction is clean and resonant, so notes are clearly captured despite the abundance of pedaling and the blurred effects so often found in Debussy.
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Classical - Released September 14, 2018 | ECM New Series

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Classical - Released January 1, 2001 | Megadisc Classics

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Classical - Released September 5, 2006 | ECM New Series