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Symfonische muziek - Verschenen op 5 april 2011 | PentaTone

Booklet
Pentatone present the final volume of Philippe Herreweghe’s Beethoven series. At the helm of the Royal Flemish Philharmonic, the conductor offers Beethoven’s Symphonies n° 4 and 7 with the same mastery that was present in the first volumes. Out of iron discipline and religious respect for the text arises a fresh sense of freedom and regeneration. © Qobuz
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Klassiek - Verschenen op 30 maart 2010 | PentaTone

Booklet
In the 2000s, Philippe Herreweghe recorded for the label Pentatone the entirety of Beethoven’s symphonies with the Royal Flemish Philharmonic under the senior artistic direction of Andreas Neubronner at Tritonus studios. Recorded in Anvers, Belgium in October 2009, this last section calls on several vocal soloists for the finale (Christiane Oelze, Ingeborg Danz and David Wilson-Johnson) with whom the Flemish conductor had collaborated regularly for some years starting with Bach’s cantatas. What we are presented with here is a kind of intimate Beethoven, this Beethoven remains generally calm, despite the occasional unconventional streak (but less so than with Brüggen or Gardiner), particularly light textures (Adagio molto e cantabile), and lively phrases. With Philippe Herrewegh, Beethoven never leaves the 18th century and the dancing spirit he works into his interpretation (Finale, notably the introduction) weaves in the watermarks of close links to composers from previous generations. © Qobuz
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Klassiek - Verschenen op 31 juli 2007 | harmonia mundi

Originally published in 1991, this slightly different recital by pianist Brigitte Engerer provides a beautiful look into the Beethovenian piano catalogue with some large and small works. As Jean-Yves Bras explains in the original record sleeve, “it illustrates, in fact, the daily work and versatile temperament of a Beethoven who sometimes opened up to the seduction of the frivolous viennese public, and was sometimes conscious of his artistic direction, imposing expression, style and thought”. What’s more, Brigitte Engerer starts with the two Rondos Op. 51s published by Artaria in Vienna in 1802, but whose composition dates back to 1797, two brilliant works which exude an improvisational character. The pianist adds to the programme the formidable song (formidable because of its fame and repetitive melody) Für Elise (in English, For Elise). Written in one day on the 27th of April 1810, this score made up of 300 bars is, in reality, a work of maturity for the composer - one can sometimes forget - and contemporary of Sonata No. 26 “The Farewells”. The sonata acts as the perfect prelude to the magnificent Andante favori which Beethoven had initially intended to be the slow movement in the Waldsten Sonata (1803-1804), but was then already overly long. The most substantial work on the bill, the Sonata in A flat Major Op. 110, is perhaps the most spellbinding of the final three sonatas. Relatively brief, it basks in an unforgettable light and its final fugue includes reminders of the gloomy preceding Adagio with a dazzling sense of balance. Brigitte Engerer has had the good idea of including the Variations on an original theme in D Major Op. 76 in which the theme is The Ruins of Athens, composed in 1809 and rarely braved by pianists. © Théodore Grantet/Qobuz
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Kamermuziek - Verschenen op 29 september 2017 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
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Klassiek - Verschenen op 16 oktober 2015 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
This is the third instalment in François-Frédéric Guy’s traversal of Beethoven and the first to delve into the chamber music. He is well matched in intellect, musicianship and temperament by cellist Xavier Phillips as they journey from the ridiculous (the Variations on ‘See the Conqu’ring Hero Comes’, in which Guy dispatches the virtuoso piano part with complete aplomb, to delectable effect) to the sublime (the Op 102 Sonatas). The two sets of variations on themes from Mozart’s Magic Flute are a very different proposition from the ‘Conqu’ring Hero’ but just as persuasive, with the Op 66 set given a particularly sparkling reading. Competition is of course thick on the ground, not least from Isserlis and Levin (playing a tremendously characterful McNulty fortepiano), which was an obvious choice for Record of the Month in February 2014. But Phillips and Guy deserve that accolade just as richly and their utterly different sound world is equally riveting.
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Klassiek - Verschenen op 13 september 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 3 april 2020 | Sony Classical

Hi-Res Booklet
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Klassiek - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
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Klassiek - Verschenen op 17 juli 2020 | Alia Vox

Hi-Res Booklet
Jordi Savall’s Beethoven is bursting with life. The accents, rhythms and articulations are sprightly of course. But also in spirited, intelligent phrases, the accomplished orchestral balance cheerfully testifies to this (Adagio from the 4th). The tempos too are relatively measured but alluring. The secret of these Beethoven compositions is their dancing spirit, inherited from the dances of the 18th century, which brings a constant energy. Another way in which these works stand out, something that Beethoven invented for the orchestra, is the revolution of timbres which inspired the Master of Bonn’s formal constructions, in the new registers (the development of brass instruments and notably horns, but also increased presence of timpani, etc.) and in the development of dense textures. All this is paired with a poetic, theatrical sound: these symphonies are hidden dramas. This is how Ernest Ansermet also saw it in the past and his complete Decca recordings bear the trace of this, despite a naturally different general aesthetic (Decca, 1958-1963, well worth rediscovering). Here, the 4th is bursting with audacity - it is perhaps the greatest of the first works of the genre in the Beethoven catalogue. Jordi Savall achieves a very beautiful ensemble, which very clearly sticks out above the rest in the 2020 year of Beethoven, a year overflowing with rather unconvincing artistic proposals. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 1 januari 2012 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Klassiek - Verschenen op 3 april 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet
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Klassiek - Verschenen op 15 november 2019 | Alpha

Hi-Res Onderscheidingen 5 de Diapason - Qobuzism
The final part of this intelligent and well-rounded triptych certainly deserves a Qobuzissime! It has been several years since we have been following this grandiose but relaxed duo, made up of violinist Lorenzo Gatto and pianist Julien Libeer. The Belgian pair have brought their complete collection of Beethoven’s sonatas for violin and piano to a close. There is a lot of spontaneity in this integral work, yet this freshness is not synonymous with offhandedness. On the contrary, the fruit of a well thought-out project, it unfolds as a thrilling story in three parts.The first volume opened like a stage curtain on this landmark of Beethoven with the iconic Kreutzer sonata, a strong score which trumps the expectations of the genre. The vehement drama of the first movement, slow and in a minor key, contrasts with the gentle nature of the second movement and confirms that the sonata is well and truly a format for two instruments on an equal footing and not just a support act to the piano, a Steinway in this instance.The second one delineated the milestones of an expanding genre. From the first to the last sonata, via the most popular nicknamed Spring, we bear witness to a general amplification of style. From Opus 12 to Opus 96, the form expands, the technical difficulty of playing increases and the light-hearted fun gives way to a more energetic rhetoric. For this second album, the duo chose the lustrous power of Chris Maene’s parallel-stringed piano. The instrument affords the necessary resonance to the interpretation of this sometimes outright zesty, sometimes tenderly subtle score.The third volume frames the Steinway’s radiance (Sonatas 6 and 7) with the more ample Maene piano (Sonatas 3 and 8) and is dedicated to the works conceived when the composer’s hearing began to falter. Paradoxically, this nightmare for Beethoven has brought about a gift for his listeners. Varied combinations of timbres, styles and character are constantly renewed in this cycle which Gatto and Libeer faithfully interpret throughout its entirety. Our award of recognition is also a retrospective on the first two milestones of this adventure which has valiantly held its promise. An important integral work to explore and encourage others to do so as well! © Elsa Siffert/Qobuz
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Piano solo - Verschenen op 23 augustus 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama
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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Klassiek - Verschenen op 1 januari 2006 | Deutsche Grammophon (DG)

Hi-Res Booklet
It would be difficult to rank these three complete collections of Beethoven's works for cello and piano, recorded by Pierre Fournier with three different partners, all distinguished Beethoven experts: Arthur Schnabel (1947-48), Friedrich Gulda (1959) and Wilhelm Kempff (1965). Fournier and Gulda are like fire and water. The French cellist provides guidance to the solitary and somewhat untameable Gulda, who himself admitted to having learned some discipline over the course of the recording, and kept a debt of gratitude for Fournier his whole life. The result is a tremendous show of mutual attention and a clarity of expression, without any pomposity or pretentiousness. © François Hudry/Qobuz
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Klassiek - Verschenen op 23 augustus 2019 | Alpha

Hi-Res Booklet
Alpha is reissuing the complete Beethoven quartets by the Belcea Quartet : 'Beethoven's music has been at the center of our life as a quartet from our very first rehearsal together back in 1994. However, it is more recently that we immersed ourselves totally in Beethoven in preparation for, and during the course of the immense project of performing and recording all of his string quartets in the season 2011/12. It is during this past year that Beethoven's music became an all-consuming passion for each of us. These sixteen quartets written some two hundred years ago form one the most complete and powerful musical statements ever made. The completeness lies in their unprecedented intensity and in the astonishing development that can be traced between the early and the late works - a thirty-year long revolution which altered forever the way we experience music.' © Alpha Classics
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Duo´s - Verschenen op 3 juni 2016 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc de Classica - Exceptional Sound Recording
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Concerten voor klavier - Verschenen op 31 januari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Many of us may have set goals for the new year, but harmonia mundi set theirs particularly high. The independent record label intends on killing two birds with one stone by launching an extensive Beethoven edition that spans from 2020 (one hundred and fifty years since his birth) to 2027 (the bicentenary of his death), in a series of new recordings by new musicians under the label. For years to come, this non-exhaustive edition will be a reflection of the interpretative trends from the 21st century. This first volume of the Complete Piano Concertos on period instruments (there will be another on modern instruments) brings together the two extremes of Beethoven’s repertoire, namely Concertos No. 2 and No. 5, the former of which was composed first. Kristian Bezuidenhout’s exceptional musicality renders the dispute over instrument manufacturing seemingly artificial and fruitless, as he is at ease playing both early and modern pianos. After an inspired performance of Mozart’s complete Sonatas, we follow him as he journeys through the Beethoven Concertos, working closely with the Freiburg Barockorchester ensemble, for whom Bezuidenhout and Gottfried von der Goltz have been in charge of artistic direction since 2017-2018. This may not be a ground-breaking endeavour but what sets it apart is the meticulous attention to detail from Kristian Bezuidenhout and conductor Pablo Heras-Casado with regards to articulations and dynamics. The same can also be said for their choice of cadenzas, which the pianist often reinterprets using the same instrument for the complete work, resulting in a modern rendition played on a Viennese Conrad Graf piano dating from 1824. Confronted with musical practices from the end of the 18th century, the music of young Beethoven comes alive as never before. © François Hudry/Qobuz
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Klassiek - Verschenen op 4 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet
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Klassiek - Verschenen op 15 november 2019 | Alpha

Hi-Res Booklet
The final part of this intelligent and well-rounded triptych certainly deserves a Qobuzissime! It has been several years since we have been following this grandiose but relaxed duo, made up of violinist Lorenzo Gatto and pianist Julien Libeer. The Belgian pair have brought their complete collection of Beethoven’s sonatas for violin and piano to a close. There is a lot of spontaneity in this integral work, yet this freshness is not synonymous with offhandedness. On the contrary, the fruit of a well thought-out project, it unfolds as a thrilling story in three parts.The first volume opened like a stage curtain on this landmark of Beethoven with the iconic Kreutzer sonata, a strong score which trumps the expectations of the genre. The vehement drama of the first movement, slow and in a minor key, contrasts with the gentle nature of the second movement and confirms that the sonata is well and truly a format for two instruments on an equal footing and not just a support act to the piano, a Steinway in this instance.The second one delineated the milestones of an expanding genre. From the first to the last sonata, via the most popular nicknamed Spring, we bear witness to a general amplification of style. From Opus 12 to Opus 96, the form expands, the technical difficulty of playing increases and the light-hearted fun gives way to a more energetic rhetoric. For this second album, the duo chose the lustrous power of Chris Maene’s parallel-stringed piano. The instrument affords the necessary resonance to the interpretation of this sometimes outright zesty, sometimes tenderly subtle score.The third volume frames the Steinway’s radiance (Sonatas 6 and 7) with the more ample Maene piano (Sonatas 3 and 8) and is dedicated to the works conceived when the composer’s hearing began to falter. Paradoxically, this nightmare for Beethoven has brought about a gift for his listeners. Varied combinations of timbres, styles and character are constantly renewed in this cycle which Gatto and Libeer faithfully interpret throughout its entirety. Our award of recognition is also a retrospective on the first two milestones of this adventure which has valiantly held its promise. An important integral work to explore and encourage others to do so as well! © Elsa Siffert/Qobuz
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Symfonieën - Verschenen op 15 juni 2016 | Berlin Philharmonic Orchestra

Hi-Res Booklet