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Klassiek - Verschenen op 8 september 2017 | Naxos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 4 étoiles Classica
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Klassiek - Verschenen op 13 januari 2017 | Naxos

Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Klassiek - Verschenen op 1 oktober 2013 | Orchid Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Hi-Res Audio
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Klassiek - Verschenen op 2 oktober 2015 | Naxos

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 6 mei 2016 | Naxos

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
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Klassiek - Verschenen op 11 mei 2018 | Naxos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
While Israeli-Russian pianist Boris Giltburg’s career is taking off all over the world, he has felt very close to Belgium ever since he won first prize in the 2013 Queen Elisabeth Competition. After several recordings for EMI (Warner), here he gives a studio rendition of the Third Concerto, and the Variations on a Theme of Corelli by Sergei Rachmaninov, on his tenth album for Naxos, which completes his often-unique approach to the Russian pianist-composer. The Études-tableaux and the Second Concerto divided opinion, with some seeing him as a "new Glenn Gould" (sic) who would do away with routines, while others drew attention to the total indifference of his style. Boris Giltburg's technique is such that he can give free rein to his imagination while taking care of the minute details of one of the most difficult concertos in the repertoire. Fascinated by the manufacture of instruments, in 2016 he took up the new 102-key piano from French manufacturer Stephen Paulello, a thrilling instrument which the musical world has been eagerly anticipating for a long time, and which proves that, just like in the 19th century, the piano can still evolve towards other sounds. For this Concerto n° 3, recorded at Glasgow's Royal Concert Hall, Boris Giltburg returns to his dear Fazioli piano and is joined by Mexican conductor Carlo Miguel Prieto at the head of the Royal Scottish National Orchestra. © François Hudry/Qobuz
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Klassiek - Verschenen op 4 september 2012 | Orchid Classics

Booklet Onderscheidingen Gramophone Award
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Klassiek - Verschenen op 12 april 2019 | Naxos

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Klassiek - Verschenen op 3 februari 2015 | Naxos

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Klassiek - Verschenen op 11 januari 2019 | Naxos

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Klassiek - Verschenen op 4 december 2020 | Naxos

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Klassiek - Verschenen op 8 januari 2021 | Naxos

Hi-Res Booklet
The great Beethovenian journey of Boris Giltburg continues on Naxos
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Klassiek - Verschenen op 23 april 2021 | Naxos

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Klassiek - Verschenen op 16 oktober 2020 | Naxos

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Klassiek - Verschenen op 4 september 2020 | Naxos

Hi-Res Booklet
Boris Giltburg has set out to study and film all of Beethoven’s 32 piano sonatas by the end of 2020. The project started as a personal exploration, driven by curiosity and his strong love of the Beethoven sonatas. These performances display Giltburg’s customary spirit and technical finesse, and also convey the electric atmosphere of the live recording. © Naxos
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Klassiek - Verschenen op 5 maart 2021 | Naxos

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Klassiek - Verschenen op 3 juli 2020 | Naxos

Hi-Res Booklet
A long time ago, record companies would call upon the great Beethovenian musicians of the time to come and record their favourite works from his repertoire. Decca takes us back to this time with its re-release of two complete recordings of Wilhelm Backhaus (1884-1969) recorded in the early 1950s (monophonic), then for a second time between 1958 and 1968 (stereophonic). Over roughly the same period, Wilhelm Kempff (1895-1991) recorded two complete cycles of Beethoven’s 32 Sonatas between 1951 and 1956 (monophonic) and then from 1964-1965 (stereophonic). As the pinnacle of the piano repertoire, his work is now being performed by a great number of pianists to celebrate 2020, the year of Beethoven. In some cases, this required learning most of the sonatas and playing them for the first time, whereas the two seasoned experts cited above are examples of musicians that had practised and played Beethoven’s music in public for decades. Kempff was already recording practically the entire Beethovenian repertoire as early as the 1930s, at just forty years old! Do today’s pianists record these significantly complex works too soon (or, perhaps, for the wrong reasons)? Continuing in the same vein as musicians such as Igor Levit, Fazil Say, Martin Rasch, Martino Tirimo, Konstantin Lifschitz and Konstantin Scherbakov, who are more or less young, Boris Giltburg leaves this question unanswered. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 6 november 2020 | Naxos

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Klassiek - Verschenen op 7 augustus 2020 | Naxos

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Klassiek - Verschenen op 11 oktober 2019 | Naxos

Hi-Res Booklet
Beethoven’s first two piano concertos share an abundance of lyric and virtuosic qualities. Concerto No. 1 in C major is expansive and richly orchestrated with a sublime slow movement that is tender and ardent, and a finale full of inventive humour. Concerto No. 2 in B flat major marries energy with elegance, reserving poetic breadth for its slow movement and quirky wit for the finale. Also included is the jovial Rondo, WoO 6, which Beethoven originally intended to be the finale of Concerto No. 2. © Naxos