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Classical - Released October 7, 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Award - Gramophone Record of the Month - Le Choix de France Musique
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Solo Piano - Released February 9, 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica
Oh no, no, no: this is absolutely not a re-release of one of the many recordings which Murray Perahia made of Beethoven over the decades. This here is something completely new, made in 2016 and 2017, of two radically contrasting sonatas: the Fourteenth of 1801, which Rellstab nicknamed "Clair de lune" in 1832, while Beethoven merely dubbed it Quasi una fantasia, and the Twenty Ninth of 1819, Große Sonate für das Hammerklavier, written after several barren years. Perhaps, consciously or not, Perahia has coupled two works, one "before" and the other "after" - after all, he himself has known his fair share of fallow years, following a hand injury which removed him from the stage from 1990 to 2005. Whether or not it's true, it's certainly tempting to imagine. Either way, like Beethoven, Perahia made a storming return, as shown in this recent performance, in which vigour alternates with moments of intense introspection, always impeccably phrased and articulated, and deeply musical. Clearly all those years in which he concentrated almost exclusively on the works of Bach as a training regime while he waited for recovery seem to have in fact been immensely fruitful. © SM/Qobuz
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Solo Piano - Released August 31, 2009 | Sony Classical

Distinctions Diapason d'or - Choc de Classica - Exceptional Sound Recordings
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Classical - Released November 15, 2010 | Sony Classical

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Choc de Classica - Hi-Res Audio
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Concertos - Released February 10, 2012 | Sony Classical

Distinctions Choc de Classica
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Concertos - Released October 11, 2010 | Sony Classical

Distinctions The Qobuz Ideal Discography
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Classical - Released October 23, 2000 | Sony Classical

€77.49

Keyboard Concertos - Released August 22, 2006 | Sony Classical

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Concertos - Released April 11, 2011 | Sony Classical

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Solo Piano - Released March 31, 2008 | Sony Classical

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Chamber Music - Released January 19, 1999 | Sony Classical

During the 1720s, Bach grouped his harpsichord suites into two sets of six each and assembled a third, that was newly composed. These compositions have survived as the English Suites, French Suites and Partitas. Only the Partitas were published in Bach's lifetime. The English Suites are the earliest of these keyboard works and three of them are the focus of this recording by pianist Murray Perahia. There is nothing especially "English" about these works and their misleading title is one that was never known by Bach. Dubious titles notwithstanding, the works are marvels of invention that marry intellectually challenging contrapuntal lines to sublime melodies. Perahia wisely says the suites are "heart and mind connected." Perahia dazzles in this music. He excels in the twisting contrapuntal complexities of each suite: particularly the Prelude of the Second Suite and the Gigue of the Fourth. Perahia also revels in the melodic splendor of the elegiac slower movements, his playing of the Allemande of the Fifth Suite a high point of the disc. Perahia's Bach is yet another jewel in the crown of this wonderful pianist.
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Classical - Released March 4, 1997 | Sony Classical

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Classical - Released October 7, 2016 | Sony Classical

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Classical - Released October 14, 2002 | Sony Classical

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Classical - Released March 30, 1998 | Sony Classical

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Classical - Released April 23, 2016 | Sony Classical

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Classical - Released August 22, 2008 | Sony Classical

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Classical - Released March 6, 2000 | Sony Classical

The elegant and clean lyricism of Murray Perahia's playing fits this program of piano songs without words to a tee. Perahia has always had a wonderful knack for teasing out singing contrapuntal lines that other pianists ignore. Far from sounding willful, such interpretative playing seems to reveal music that one should have been hearing all along. Consequently, Perahia lends all music that falls under his hands a decidedly polyphonic cast. It is therefore not surprising that Perahia renders the richly textured Bach-Busoni chorale transcription, "Nun freut euch, lieben Christen," with unstudied charm. Similarly, in Mendelssohn's 'Songs without Words,' Perahia projects more that composers championing of Bach than his Romantic pioneering. Perahia's playing of Liszt's transcriptions of Schubert songs is virtuosic without being showy. Even in the tour-de-force final strophe of "Auf dem Wasser zu singen," Perahia stresses the singing of individual lines over theatrical dazzle.
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Classical - Released October 14, 2016 | Sony Classical

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Murray Perahia in the magazine