Piano solo

Recorded 2020 Salle Molière, Palais de Bondy, Lyon (France)

Johannes Brahms composed only a small number of original works for piano four hands, but arranged almost all of his chamber music and orchestral works for this instrumentation. He played most of them immediately after their completion with Clara Schumann and greatly appreciated her opinion. In his Hungarian Dances Brahms brilliantly transformed original Hungarian melodies and rhythms into multi-coloured orchestral works. The Blüthner grand piano from 1867 shows how Brahms made perfect use of the entire keyboard in his writing for four hands. The various registers appear completely transparent and clear. It is not generally known that Brahms was a great admirer and friend of Johann Strauss. And he loved waltzes! Thus Brahms also created an instrumental version of his Liebeslieder-Walzer for piano four hands. Robert Schumann’s last theme, which he wrote for his so-called "Ghost Variations" immediately before being admitted to a mental hospital, is used by Brahms in his homage to Schumann, which was written immediately after his death in 1856: the Variations on a Theme by Robert Schumann, Op. 23 for piano four hands, which ends with an impressive funeral march. For the piano duo Wyneke Jordans & Leo van Doeselaar it was an obvious choice to conclude their series with recordings of four-handed piano works by great German composers on period instruments with Brahms. © Passacaille

« One hot summer day, I headed due south from London and crossed France and Spain on my road bike. Challenging it was, yet beautiful, emotional and colourful all at once — while pedalling thousands of kilometres, the journey brought me closer to my innermost core. Upon my return home, I wished to express all the intense feelings and sensations I experienced on the road in my own way — the language of music. The metamorphosis was already underway when I became aware of the duende and after digging a bit deeper, I immediately sensed that it was this feeling which touched me on my journey, giving me strength and letting me connect with people and their land more profoundly ». « There is a duality at play between the repetition of recording and the spontaneity and unpredictability of duende — and to summon duende, the process had to be as free and fluid as possible: all sessions built up to a final complete ‘recital’-take to capture the spirit of live creation. This was masterfully recorded by Jean-Martial Golaz — a magician of sound who effortlessly played the timeless acoustics of La Salle de Musique, La Chaux-de-Fonds to create a soundscape from another time. We intuitively found the golden balance to bring out the whispers of burning wind to the cries of flamenco from the old Steinway dating back to 1966 — the very same piano on which the great chilean pianist Claudio Arrau recorded Debussy’s Images in 1979. The soul of the piano was both conjured up and tamed by Corinne Wieland — a consummate piano technician. My gratitude goes out to both of them — this team gave me the wings to take off and be free.» Teo Gheorghiu / © Claves Records

Both on the concert platform and in the recording studio, pianist Daniel-Ben Pienaar is a completist. Following complete cycles of piano sonatas by Beethoven and Mozart, he presents here 12 great piano sonatas by Franz Schubert – the composer’s 11 finished sonatas and the seminal fragment D. 840. Pienaar relishes in these revelatory works, their extraordinarily detailed possibilities of characterisation, their call for immense energy and abandon, and navigating the vast dreamscapes that unfold in the course of this six-hour musical journey. © AVIE Records

In 2019, at the age of 22, Alexandre Kantorow became the first French pianist to win the prestigious Tchaikovsky Competition. Before then he had released three acclaimed albums, awarded distinctions such as "Diapason d'or de l'Année" and Gramophone's "Editor's Choice" and earning Kantorow descriptions ranging from 'Liszt reincarnated' to 'a firebreathing virtuoso with a poetic charm and innate stylistic mastery'. The present recital, his first release since the Tchaikovsky Competition, offers plenty of scope for virtuosity, poetry and charm, always filtered through an acute stylistic consciousness. The programme is constructed around three rhapsodies, a genre whose improvisatory character corresponds perfectly with the spirit of Romanticism but here interpreted by three highly distinct artistic temperaments: Franz Liszt, Johannes Brahms and Béla Bartók. © BIS Records

This box set assembles the complete Beethoven symphonies, patiently transcribed for piano over a quarter of a century and recorded for harmonia mundi by a glittering array of soloists in the late 1980s. Liszt’s assiduity in this task reminds us of his spiritual, well-nigh religious admiration for the older composer, a genius ‘consecrated in art’ whose ‘conscientious translator’ he wished to be, thanks to the latest pianistic advances. Traduttore or traditore? Judge for yourself: Liszt does not make simple reductions or arrangements, but totally rewrites the works, as if they had been originally conceived for the piano! © harmonia mundi

One never comes across any ordinariness when following Alexandre Tharaud’s career. This new album is as impressive in the originality of its conception as much as its meticulous musical delivery. The French pianist appears to be nostalgic towards two different golden ages: that of 17th-century music, and that of the French piano during the 1950s, specifically Marcelle Meyer’s inspiring playing which Tharaud remains motivated by. The “Versailles” which has attracted Alexandre Tharaud, and serves as the title for this recital is less Louis XIV’s opulent world of wonder and more of an intimate world of secret music. Without any difficulty, the pianist manages to make these pieces specifically written for the harpsichord his own, even going as far as inviting young harpsichordist Justin Taylor to join him for a rendition of Rameau’s Les Sauvages... for four hands on the piano! If the pianist Marcelle Meyer had recorded Rameau and Couperin in an era more liberal than today, Alexandre Tharaud has the audacity to go against musicological rules for the listener’s benefit. Of course, we are accustomed to Bach, Scarlatti, Couperin and Rameau on the modern piano, but Pancrace Royer, Robert de Visée, Jean-Henry D’Anglebert and Jacques Duphly are suddenly thrust into the limelight of this musical collection which incidentally highlights their relevance. © François Hudry/Qobuz

Born in 1903, Aram Khachaturian became the most significant twentieth-century musical figure in the then Soviet Republic of Armenia. Many of his most important works date from the first half of his career. The expressive immediacy of his music, conditioned by his Armenian heritage with its sensuous melodic writing, its vibrant orchestration and rhythmic drive – all resulted in a popularity equalled by few composers of his generation. Although he is primarily associated with large orchestral scores – including the ballets Gayaneh and Spartacus, perennial favourites with concert audiences – he also left a number of works for piano solo. For his début disc, the Jordanian-Palestinian pianist Iyad Sughayer has put together a recital spanning from the ample and demanding Sonata to the delightful Children’s Album, consisting of ten miniatures, in turn playful and poignant. The recital closes with a piece which did a great deal to establish Khachaturian’s name near the outset of his international career. Composed in 1932 (allegedly in a single evening), the Toccata in E-flat minor soon established itself among the showpieces of the modern repertoire and was to become a calling-card for aspiring virtuosi. Iyad Sughayer was born in 1993 in Amman, where he received his early training. He is currently based in the UK. © BIS Records

The internationally renowned pianist Imogen Cooper is best known for her interpretations of composers of the classical and romantic eras, as reflected in her existing discography for Chandos, featuring works by Liszt, Wagner, Brahms, Chopin, Beethoven, and Robert and Clara Schumann. On her new album, she explores the links between more recent French and Spanish styles in a programme ranging from Albéniz to Mompou via Debussy, Ravel, and Falla. Informed by the pianist’s frequent visits to (and love for) Catalonia (homeland to Albéniz and Mompou) and the Basque region of southern France (birthplace of Ravel) these are performances filled with feeling and personality, as well (of course) as virtuosic playing of the highest order. © Chandos