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Symphonies - Released January 1, 2016 | Universal Music Group International

Hi-Res Distinctions 5 de Diapason - 4F de Télérama

Classical - Released October 25, 2005 | Warner Classics International

Distinctions Diapason d'or - Choc de Classica

Classical - Released January 1, 2003 | Deutsche Grammophon (DG)

Hi-Res Distinctions Hi-Res Audio

Symphonic Music - Released June 30, 2000 | Warner Classics International

Hi-Res Distinctions Hi-Res Audio

Classical - Released January 1, 2011 | Deutsche Grammophon (DG)

Booklet Distinctions Gramophone Editor's Choice

Classical - Released August 29, 2006 | Warner Classics International

Distinctions Choc de Classica

Classical - Released September 13, 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet
Daniel Barenboim is no stranger to complete collections. Glutton that he is, he records them several times over, whether it's Beethoven's Sonatas, or as here, Mozart's Trios (already recorded for EMI in 2006 with violinist Nicolai Znaider and cellist Kyril Zlotnikov). And so it's not the immortal Amadeus that we are hearing so much as a portrait of Barenboim that ages with the years. The accomplished artists create a close dialogue, greedily following each other's music. Amongst all these scores, can we detect an aesthetic vision? The scores follow one after the other, like at a family musical soirée, with a convivial, sweetish piano sound – likely a matter of sound quality rather than sherry consumption – in particular on the Piano Trio in B Flat Major, K.502, but also in the opening passages of the Allegro of the Piano Trio in E Major, K.542, whose dramatic dimension is somewhat lacking here. But at least the piano doesn't overshadow the strings or upset the balance required in these tightly-wound, respected works. Mozart's chamber music isn't simple: the contrapunctual writing builds a delicate world whose poetry is flavoured by harmonies and chromatism. Daniel Barenboim has found some fitting partners. © Elsa Siffert/Qobuz

Classical - Released July 24, 2020 | Decca Music Group Ltd.

Three composers in particular have been successful with the conductor Daniel Barenboim: Bruckner, Wagner and Sir Edward Elgar; a matter of orchestral colour and texture no doubt. Since his collaboration with Universal's labels has resumed (Decca for orchestral projects, Deutsche Grammophon for piano), he is once again exploring the English composer's orchestra with his beloved Staatskapelle Berlin, an ensemble characterised by dark textures. After beautiful versions of the two symphonies, and even The Dream of Gerontius, it’s a joy to now immerse ourselves in Sea Pictures, one of the most poetic melody cycles of the late 19th century: the broad spectrum of the Latvian mezzo-soprano's voice Elīna Garanča, like her silky timbre, wonderfully carries the lyrical yet tragic lines of Where Corals Lie (the most beautiful “song” of the cycle), like the more theatrical character of The Swimmer, which takes on its true dramatic tone here. Unlike many other recordings since the legendary 1965 recording by Dame Janet Baker and Sir John Barbirolli with the London Symphony Orchestra (His Master's Voice), Elīna Garanča and Daniel Barenboim willingly shed the melancholy and contemplative tone of Sea Pictures and create a more dramatically energetic atmosphere, more in the spirit of the romantic "scenes" of the early 19th century (Berlioz), with an "Introduction" (Sea Slumber Song), "Aria I" (In Haven), an alternating form of recitatives and ariosos (Sabbath Morning at Sea), "Aria II" (Where Corals Lie) and "Conclusion" (The Swimmer), despite very measured tempo contrasts. The drawn-out phrasings by Barenboim at the opening of the last "song" can testify to this new approach, differing in this respect from the old engraving with Yvonne Minton (CBS). Daniel Barenboim and the Staatskapelle Berlin continue with the symphonic study Falstaff, composed in 1912, where Elgar underlined its links with the world of Richard Strauss (Don Quixote, Ein Heldenleben). The Staatskapelle Berlin is often tinged with mischief, with a completely different predominance of strings here. And Daniel Barenboim's momentum is still fully intact (Falstaff's March). A truly wonderful version. © Pierre-Yves Lascar/Qobuz

Classical - Released January 1, 1974 | Deutsche Grammophon (DG)


Concertos - Released August 2, 2013 | Warner Classics


Classical - Released January 1, 1987 | Deutsche Grammophon (DG)


Classical - Released January 1, 1974 | Deutsche Grammophon (DG)


Classical - Released January 1, 1984 | Deutsche Grammophon (DG)


Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet
Somewhat surprisingly, Daniel Barenboim recorded the 11 complete piano sonatas of Franz Schubert for the first time between 2013 and 2014, thus making this Deutsche Grammophon box set an important first-time release. For admirers of Barenboim's intellectual depth and clean playing, his approach to these works may be ideal, because Schubert's music is always vulnerable to overly ripe or sloppy interpretations, and it takes a balance of ideas and emotions to convey the essence of the sonatas. While Barenboim has established himself as a masterful accompanist in Schubert, playing chamber works and lieder cycles, he has touched the solo keyboard works less often. However, these performances of the sonatas are as cogent and competent as if he had specialized in them for decades. Touch is critical in Schubert, and Barenboim's refined playing shows a remarkable control of dynamics, colors, and shadings, which, together with his eloquent phrasing and careful use of the pedals, make it subtle and compelling for its variety. While the studio recordings are a bit dry, presumably to aid in clarity, the piano has a slightly ringing quality in the upper register and a warm middle to low range, so it has an attractive tone without studio enhancements. Highly recommended. © TiVo

Classical - Released August 2, 2013 | Warner Classics


Classical - Released January 12, 2018 | Deutsche Grammophon (DG)

This is not exactly a new Debussy release by Daniel Barenboim; the Préludes come from a 1998 DVD that has fallen into obscurity. Probably the reason for its resurrection was to grab market share for the 2018 centenary of Debussy's death. The sound shifts noticeably between the earlier set and the newer studio recordings, made in 2017 when the Argentine pianist was well into his eighth decade. Whether because the Préludes performances were made with a multimedia presentation in mind or for some other reason, they lack focus as a group. That said, there's much here to remind one of why Barenboim still commands a strong following as a pianist. He has a gift for the arresting gesture. Sample the well-worn Clair de lune: Barenboim's rhythmically subtle opening makes it into moonlight dancing on the water. There are other such moments, and for Barenboim fans this may well be a desirable find in this centenary year. © TiVo

Classical - Released August 2, 2013 | Warner Classics


Classical - Released February 7, 1996 | Warner Classics International


Opera - Released February 1, 1995 | Warner Classics International


Classical - Released January 1, 2001 | Westminster


Daniel Barenboim in the magazine
  • The Qobuz Minute #13
    The Qobuz Minute #13 Presented by Barry Moore, The Qobuz Minute sweeps you away to the 4 corners of the musical universe to bring you an eclectic mix of today's brightest talents. Jazz, Electro, Classical, World music ...