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Classical - Released September 13, 2019 | ECM New Series

Hi-Res Booklet
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Classical - Released September 13, 2019 | ECM New Series

Booklet
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Classical - Released September 13, 2019 | ECM New Series

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Classical - Released August 16, 2019 | ECM New Series

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Solo Piano - Released June 14, 2019 | ECM New Series

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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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Classical - Released June 14, 2019 | ECM New Series

Booklet
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Solo Piano - Released May 24, 2019 | ECM New Series

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
“Water equals time and provides beauty with its double.” Anna Gourari, a pianist with a completely individual naturalness and authority, chooses these words from Joseph Brodsky’s essay on Venice as epigraph to her third recording for ECM. Her programme is typically wide-ranging but tightly focussed, with exquisitely alive performances of slow movements by Bach framing a choice selection of pieces from our own time. A span of three centuries is thus traversed, with magical and moving ease. We find memories of Bach reappearing in the regularly repeating notes of diary entries for piano set down in 2002 by the senior Russian composer Rodion Shchedrin, in a work written for Gourari. And we find in the late Five Aphorisms by Alfred Schnittke strange and beautiful chords that seem to condense whole swathes of Bach’s harmony. This is the “Elusive Affinity” of which the album’s title speaks. The two Bach slow movements are from his transcriptions of concertos by Antonio Vivaldi and Alessandro Marcello, arrangements in which he retraced these orchestral concertos for his own fingers, bringing to them an intimate privacy that Gourari also conveys throughout this recording. Vivaldi and Marcello were both Venetians, and Venice provides, by elusive affinity, the recording’s imaginary location. Photographs by Luca d’Agostino, reproduced in the booklet, follow Gourari through a Venetian archway, beside an ancient wall, on the edge of the lagoon. Water circulates in the city, enveloping past and present, old and new. So in our awareness, as we listen, Bach’s images of a Venice he never visited swim with others from nearer at hand. These others remind us that Venice, the Mediterranean mirror-image of St. Petersburg, has long been important to Russian artists. Schnittke’s dark pieces sound like shadows cutting across sunlit paving, though there is wit in this music, too. Arvo Pärt, represented by a crucial but largely overlooked early example of his luminous style, evokes bell sounds common to both Venice and the Baltic. Also here are two haunting miniatures by Giya Kancheli and a sequence of memorials to friends by Wolfgang Rihm, where sombreness joins with light, in what is again a Venetian conjunction. © ECM Records
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Classical - Released May 24, 2019 | ECM New Series

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
"Zwiegespräche" is a meeting of spirits. “We compose the same way,” said György Kurtág to Heinz Holliger on hearing this recording, which emphasises works for oboe by these two major composers. Both of them reference the entire history of music in their pieces, both incorporate dedications and messages to friends and colleagues in the fabric of their work, and both draw upon literature as an inspirational source. Both, moreover, love the miniature as an expressive form; short pieces by Kurtág and Holliger are interwoven. Holliger’s sequence Airs (2015/6) is inspired by seven texts by Swiss poet Philippe Jaccottet, whose voice is heard here. The release of "Zwiegespräche" is timely. Heinz Holliger turns 80 on May 21, his creativity as composer and his resourcefulness as instrumentalist undimmed. The album concludes with Holliger’s Sonate für Oboe solo, composed in 1956, and still played by its author with absolute authority. © ECM Records
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Classical - Released May 24, 2019 | ECM New Series

Booklet Distinctions 5 Sterne Fono Forum Klassik
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Classical - Released May 24, 2019 | ECM New Series

Booklet
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Classical - Released May 10, 2019 | ECM New Series

Hi-Res Booklet
Reto Bieri’s solo album "Contrechant", released in 2011, was widely praised for the Swiss clarinettist’s beauty of tone and his uncommon expressiveness with extended instrumental techniques. "Quasi Morendo" begins with a new exploration of one of the pieces featured on "Contrechant", Salvatore Sciarrino’s Let Me Die Before I Wake (1982), with its “whisper-quiet sound world of harmonics, multiphonics and tremolandos” (The Guardian). Reto Bieri is then joined by Finnish string quartet Meta4 for a profound interpretation of Johannes Brahms’s Quintet Op. 115 (1891). Inspired by Brahms’ friendship with clarinettist Richard Mühlfeld, the quintet sounds freer, and more idyllic, than the composer’s earlier chamber music, yet is one of his most meticulously constructed works. The album closes with Gérard Pesson’s Nebenstück (1998), a ghostly re-arrangement of Brahms’s Ballade, Op. 10 No. 4. © ECM New Series
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Classical - Released May 10, 2019 | ECM New Series

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Classical - Released April 26, 2019 | ECM New Series

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Classical - Released April 26, 2019 | ECM New Series

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Classical - Released April 19, 2019 | ECM New Series

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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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Classical - Released April 12, 2019 | ECM New Series

Booklet
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Classical - Released April 12, 2019 | ECM New Series

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Classical - Released March 15, 2019 | ECM New Series

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