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Solo Piano - Released August 23, 2019 | Sony Classical

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We asked for this as much as we cautiously anticipated its arrival…Anxious to ensure the return of the pianist, Sony Classical – goodbye Deutsch Grammophon – rolled out the red carpet for Ivo Pogorelich. Recorded in Schloss Elmau and the Raiding Concert Hall (Beethoven in the former and Rachmaninoff in the latter) this new album delivers a wide sound of measured reverberation and embraces Pogorelich’s rough playing style as well as some of his more tender nuances. Like an iron hand in a velvet glove.Ivo Pogorelich is not playing around. For Rachmaninoff, he has chosen the second Sonata in B flat minor, op. 36 in its original, full-length version in which numerous sections disorientate the listener as they lose themselves on a hallucinogenic journey with the musician. Pogorelich progressively eases us in and wins us over by beginning with two, rarely recorded but known, Beethoven works: his sonatas no.22 in F major, op.54 and no.24 en F sharp major, op.78. The chosen listing is intelligent (with two major figures), ambitious (with its demanding score), and generous (for reasons mentioned above).It would seem we’re in familiar territory, yet nothing is less certain when Pogorelich seems to literally grab the scores by their reigns and breathe into them a sense of puissant heroism. Nevertheless, Pogorelich remains an expressive musician, scrutinising the texts with as much malice as severity despite some slower tempos. It’s as if the listing is backlit by his own personal vision for the works. © Elsa Siffert/Qobuz
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Solo Piano - Released July 5, 2019 | APR

Booklet Distinctions Gramophone Editor's Choice
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Trios - Released June 21, 2019 | Le Palais des Dégustateurs

Hi-Res Booklet Distinctions Choc de Classica
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Solo Piano - Released June 14, 2019 | ECM New Series

Hi-Res Booklet
As part of Keith Jarrett’s rather extensive project on the works of the Cantor of Leipzig, an interpretation on harpsichord of Livre I from J. S. Bach’s The Well-Tempered Clavier was recorded in February 1987 and released in 1988. The recording dates from the same time as this new piano version by ECM New Series recorded 7 March 1987 in Troy Savings Bank Music Hall. Of the same fluid drive in terms of the discourse, it holds an irresistible energy and is a particularly welcome interpretation of these invigorating and interpretable fugues (in C flat Major). Everything seems to dance and be in movement (D Major). The same feelings found throughout the polyphonies of pianists such as Tatiana Nikolayeya and Samuel Feinbeg or even a harpsichordist like Gustav Leonhardt are not present here. For Keith Jarrett, Bach represents the triumph of structure, and he plays Bach above all to confront one of his own artistic missions: polyphonic elaboration. The works of the Thomaskantor work as a medium for his own musical creativity as a jazzman and improvisor. The poetry and emotion are nevertheless ever-present. This is a version that will give real pleasure to all lovers of Keith Jarrett’s, allowing the comparison of two interpretations realized within two weeks of each other. Pierre-Yves Lascar/Qobuz 
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Keyboard Concertos - Released June 7, 2019 | Lawo Classics

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Solo Piano - Released May 24, 2019 | Le Palais des Dégustateurs

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Solo Piano - Released May 17, 2019 | Evidence

Hi-Res Booklet Distinctions 5 de Diapason
In his first recording, Pianist Jean-Paul Gasparian had shown a healthy technique that is essential to play the music of Russian giants. But his strong play is also sensible. In his second disc that is now dedicated to Chopin, the young performer confirms these qualities. Especially in the four Ballads, true bravura pieces in which Jean-Paul Gasparian never fails. And if he shows rigor, he also gives himself the lyricism and beauty of these pages, from Nocturnes to Waltzes and Polonaises. His elegant expression and full sound make this new album a second essential milestone in the discography of the young pianist and more generally in that of Chopin. © Little Tribeca
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Trios - Released May 3, 2019 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
Rachmaninoff's output of chamber music is small but all the more precious for that. Two absolute gems bear witness to the fact: these ‘elegiac trios’, which were produced by a young composer still indisputably under the influence of Tchaikovsky. But Rachmaninoff’s personality is already fully present, reaching heights of emotion and expressiveness. The pieces by Suk and Grieg add a further touch of character to the picture, which is painted with an exceptionally rich palette: the artistry of the phenomenal Trio Wanderer! © harmonia mundi
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Chamber Music - Released May 3, 2019 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason
The three great chamber works, the String Quartet, Piano Quintet, and Violin Sonata, were among the very last works that Elgar wrote, composed during an intensive and productive period in 1918 and 1919 whilst living at Brinkwells in Sussex, and under the twin shadows of the horrors of the Great War and the terminal illness of his wife, Alice. The String Quartet was dedicated to the original Brodsky Quartet (the name subsequently taken by the current group when they arrived as students at the Royal Northern College of Music) and was championed by this new Brodsky Quartet from the off, sitting alongside Delius’s Quartet on their debut recording (1984). It has remained a cornerstone of their repertoire ever since. The Brodsky Quartet took the opportunity of the centenary year of both works to perform the String Quartet alongside the Piano Quintet with their frequent co-performer Martin Roscoe, and this recording is a result of that commemoration. © Chandos
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Keyboard Concertos - Released April 19, 2019 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique
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Solo Piano - Released April 12, 2019 | ECM New Series

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
For a truly great interpretation it’s not enough just to play a historical instrument, the playing also has to be up to scratch. This recording released by the world-renowned label ECM showcases a pianist of the highest calibre playing the wonderful Viennese Brodmann piano. András Schiff captures the convergence of thought and sound remarkably well and seldom before have we been given so much insight into Schubert’s innermost thoughts. The softness and the unmistakable legato that the pianist produces on this Viennese instrument give the Sonatas D. 958 and D. 959 an indescribable feeling of nostalgia. But Schubert’s inward revolt was growing and András Schiff leads us steadily to the edge of the abyss. The crystalline sounds of the Scherzo in the Sonata D. 959 are as enchanting as the sound of ancient harpists who were so often depicted by German Romantics. This exploration into sound is also marvellous in the Impromptus D. 899 and the 3 Klavierstücke D. 946 or “Three Piano Pieces”, which have a very expressive counterpoint that differ from the unfathomable depth of the sonatas. This album is a revelation into a whole new world of sound that is unveiled as András Schiff’s fingers touch the keys. Inspiring. © François Hudry/Qobuz
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Solo Piano - Released April 5, 2019 | Eloquentia

Hi-Res Distinctions 5 de Diapason
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Solo Piano - Released March 29, 2019 | Supraphon a.s.

Hi-Res Distinctions 5 de Diapason
The very first complete recording of Viktor Kalabis’s piano works, as well as the previous album of his three sonatas, have come to fruition upon the initiative and owing to the relentless enthusiasm of the world-renowned harpsichordist Zuzana Růžičková, the composer’s wife and a keen promoter of his oeuvre. Of major importance was the selection of the pianist – one possessing superlative technical skills and having a profound understanding of the structure of Kalabis’s music. As Ivo Kahánek put it: “Kalabis was one of the composers who don’t restrict their ideas by the traditional laws of the piano technique, hence his music is now and then extremely difficult to perform.” Even though Kalabis drew inspiration from the music of other 20th-century masters, he soon arrived at his own, singular and unique musical idiom, which is already palpable in his early opuses. The album maps more than half a century of Kalabis’s work, from the post-war Sonata No. 1 to the masterful miniatures dating from the very end of the millennium. Following the critically acclaimed recordings of his symphonic and concert pieces (Choc de Classica, Gramophone Editor’s Choice), and of the three sonatas, the present album opens yet another window into Viktor Kalabis’s fascinating musical world. © Supraphon
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Trios - Released March 29, 2019 | Supraphon a.s.

Hi-Res Booklet Distinctions 5 de Diapason
The three pieces the Smetana Trio have selected for their new album came into being within the range of a mere four years, yet they represent three different musical universes. Anton Arensky’s Piano Trio evokes the atmosphere of the 19th-century salons, where music was played to delight the gathered bourgeoisie company. The work Alexander Zemlinsky created at the age of 25 marks the accession of the seeking of new sound and harmony. The one-movement trio Sergei Rachmaninoff, a piano virtuoso and composer rolled into one, wrote when hew was 19, teems with elegiac nobleness, which would remain the quintessential trait of the future globetrotter’s music. And whereas Arensky’s short life was marred by inner turmoil, the paths of Zemlinsky and Rachmaninoff were affected by outer circumstances – both of them died within a year, far away from their respective homelands, in the United States. With their typical vivacity and zest, the internationally renowned Smetana Trio perform three remarkable compositions dating from the late 19th century. © Supraphon
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Chamber Music - Released March 22, 2019 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
Vlado Perlemuter and Jean Hubeau’s pupil, Michel Dalberto has established himself during a forty year career as a master. And as an ardent defender of French music he launched on Aparté a series dedicated to Debussy, Fauré, Franck and Ravel. “With these recordings of works of four major French composers of the late nineteenth and early twentieth century, I wish to prove myself worthy of the teachers who used to provide a specific idea of French music made of severity and sensuality, a mixture of rigour and freedom.” After a first opus devoted to Debussy and a second to Fauré (both rewarded with international awards), Michel Dalberto chose the Salle Philharmonique in Liège to record the third part of this collection – that is to say in César Franck’s home town. © Aparté
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Solo Piano - Released March 15, 2019 | Sony Classical

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
Recordings of Schubert's swan song in the piano sonata genre, the Piano Sonata in B flat major, D. 960, are abundant, and Georgian pianist Khatia Buniatishvili deserves credit for trying something well out of the mainstream. This said, your reaction to the album may correspond to your general orientation toward iconoclasm. Buniatishvili's approach has the virtue of being coherent: she plays Schubert in a Lisztian way, and to underscore this she wraps up the program with Liszt's transcription of the famed song Ständchen, from the Schwanengesang cycle, D. 957. The four Impromptus of Op. 90 strike a nice balance between pianistic freedom and the intimate dimensions of these pieces; sample the final A flat major piece to hear the strongest argument for what Buniatishvili is doing here. She has a good deal of Lisztian charisma and a way of making you listen to what she's doing. The B flat major sonata you may find less satisfying. The opening movement is quite deliberate, with lots of tempo rubato, large dynamic contrasts, and pregnant slowdowns, with an enormous and not fully explicable full stop before the recapitulation begins. Other pianists (Sviatoslav Richter comes to mind) have approached the work this way, but perhaps nobody has taken the slow movement as slowly as Buniatishvili does: she takes more than 14 minutes with it, where most pianists take nine or ten. The last two movements are more conventional, and they can't quite cash the checks that the enormous first two movements are writing. This is a case where your mileage (kilometers?) may definitely vary, but where the artist definitely hasn't made safe choices.
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Chamber Music - Released March 15, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Solo Piano - Released March 15, 2019 | Odradek Records

Hi-Res Booklet Distinctions 5 de Diapason
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Solo Piano - Released March 15, 2019 | JB Recordings

Distinctions 5 de Diapason
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Solo Piano - Released March 15, 2019 | Rubicon Classics

Hi-Res Booklet Distinctions 5 de Diapason
The melodies on this album will be familiar to those with little exposure to classical music, or even to old cartoons. The four ballets sampled here in keyboard transcriptions by the young pianist Alexander Ullman are among the most familiar compositions of the late 19th and 20th centuries, not only in the realm of ballet, but of classical music in general. If you're looking for an album that's enjoyable to have on around the house and to inspire a young pianist, you could certainly choose this one confidently. Ullman has the virtuoso flair and sense of fun that motivated most of the transcribers, and these are quick readings, energetic but not overly flashy. You could also choose it for the variety of approaches to the venerable art of transcription that are represented here. There are four works, with transcriptions from four different transcribers of different types. The Nutcracker Suite, Op. 71a, of Tchaikovsky is played in a contemporary transcription by pianist Mikhail Pletnev. Of the two works by Stravinsky, the Three Movements from Petrushka were transcribed by Stravinsky himself for Arthur Rubinstein, while pieces from The Firebird were done by Guido Agosti, a student of Busoni. Prokofiev did his own transcriptions of the Six Pieces from Cinderella, Op. 102. Each set has a slightly different effect. Pletnev's aim was virtuoso display, and, as Liszt might have, he's ready to depart from the original to get it. You could sample Trepak, the Russian Dance. Stravinsky's own Petrushka transcriptions pack in detail from the orchestral version to a degree where the composer himself, a decent pianist, was unable to play the work, hence the virtuoso. Prokofiev's Cinderella versions are not so finger-breaking but aim toward the moods of the individual dances, while the Firebird versions by Agosti come out in the Romantic textures of Busoni (try the finale). The new Rubicon label does not fare too well in the Wyastone Concert Hall, giving the piano a slightly flat, harsh quality. The release can, however, be recommended in general.