Albums

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Chamber Music - Released January 25, 2019 | B Records

Hi-Res Booklet Distinctions 4F de Télérama
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Solo Piano - Released October 5, 2018 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
Pianist Igor Levit moved from Russia to Germany when he was eight, but there's still a lot of Russian in his outlook: an attraction to the pure virtuoso tradition, and a tendency toward big statements and the big questions. Nowhere has this been more true than on Life, an album that succeeds both thematically and as a thrilling embodiment of late-Romantic pianism at its best. The title, and the contents, refer to the album's memorial function: Levit chose the program to honor a close artist friend who died in an accident. The music is monumental enough to live up to its death-haunted theme, rising out of silence in the Fantasia after J.S. Bach of Busoni and continuing with a remarkably sustained mood of soberness and dignity, punctuated by frenetic outbursts. Busoni is one major presence on the program; the other is Liszt, and the two come together in the Busoni transcription of the Fantasy and Fugue on the Chorale Ad nos, ad salutarem undam of Liszt, originally for organ and an impressive virtuoso task on the piano. So the program works well also as a revival of pure late-Romantic pianism: you can easily imagine that Liszt would have loved this, and loved to play it. A third theme interweaving the works on the program is that of reinterpretation, as in the Brahms transcription of the Chaconne from the Bach Partita for solo violin in D minor, BWV 1004; the fact that Levit has played these works in different orderings in recital testifies to the program's remarkable cohesiveness. There is music by Frederic Rzewski in a memorial vein, and Bill Evans' serene Peace Piece is a lovely conclusion. Bravo!
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Keyboard Concertos - Released February 23, 2018 | Sony Classical

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles de Classica
For his first album with Sony Classical, Adam Laloum returns to one of his favourite composers. He distinguished himself with his first recording in 2011, for Mirare, which contained four of the composer's major works: Variations on an original theme Op. 21 No. 1, the wonderful and too-little-played Klavierstücke from Op. 76, the two Rhapsodies Op. 79 and the 3 Intermezzi Op. 117. And so it is hardly a surprise that today he is offering up his vision of Brahms's Concertos. Sony Classical has marshalled its formidable resources: one of the best orchestras in Germany, the Rundfunk-Sinfonieorchester Berlin; and one of the young wolves of orchestral conducting from Asia (but already well-known in Europe - witness his many collaborations with the Orchestre de la Suisse Romande for Pentatone) join them twice, once in August, then in October 2016, in the Radio Berlin Großer Sendesaal, for sessions which must have been a childhood dream come true for the young Frenchman. An amazing experience! © 2018 Théodore Grantet/Qobuz

Classical - Released December 8, 2017 | naïve classique

Booklet Distinctions 4F de Télérama
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Trios - Released December 1, 2017 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Choc de Classica
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Lieder (German) - Released November 3, 2017 | Erato

Hi-Res Booklet Distinctions 4F de Télérama - Gramophone Editor's Choice - 5 étoiles de Classica
“Nacht und Träume” takes its name from one of Schubert’s best-loved lieder, which is joined on the album by a further 10 of the composer’s songs. All performed in orchestral versions by such masters as Berlioz, Liszt, Brahms, Strauss, Webern, Britten and Schubert himself, they are complemented by three choral numbers and an orchestral interlude. The singers are rising stars – German mezzo-soprano Wiebke Lehmkuhl and French tenor Stanislas de Barbeyrac – and Laurence Equilbey conducts two ensembles she founded: the Insula orchestra and the choir Accentus. © Warner Classics
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Solo Piano - Released April 7, 2017 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Gramophone Award - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Pop - Released March 24, 2017 | Parlophone France

Hi-Res Distinctions 4F de Télérama
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Classical - Released September 30, 2016 | Warner Classics

Booklet Distinctions 4F de Télérama
Here, on the very same album, are recordings made far apart in time by Martha Argerich and Itzhak Perlman: Schumann’s Sonata Op. 105. Live at a concert in Saratoga on 30th July 1998 represents the first meeting between the two giants of the music scene, whereas the rest of the programme was recorded as recently as March 2016. There is romanticism above all with Schumann and Brahms - of course, the only Scherzo movement is in the “F-A-E” Sonata, a work composed jointly between Schumann, Dietrich and Brahms, but movements are commonly played individually. Argerich and Perlman end with Bach’s Baroque romanticism with one of the sonatas for violin and keyboard, where Bach himself wrote out the keyboard part instead of leaving it as a continuo. Written thusly, the score is a duet among equals, and even more so when the equals in question are these two in particular. © SM/Qobuz
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Solo Piano - Released March 18, 2016 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Pianiste Maestro - Choc de Classica - Choc Classica de l'année - 5 Sterne Fono Forum Klassik
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Quintets - Released November 12, 2015 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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Classical - Released January 2, 2015 | Sony Classical

Booklet Distinctions 4F de Télérama - Choc de Classica
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Chamber Music - Released September 22, 2014 | Mirare

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Exceptional sound

Mélodies - Released May 12, 2014 | Naive

Booklet Distinctions 5 de Diapason - 4F de Télérama - Hi-Res Audio
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Classical - Released January 13, 2014 | Nascor

Booklet Distinctions 4F de Télérama
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Sacred Vocal Music - Released July 15, 2013 | naïve classique

Booklet Distinctions 4F de Télérama
There are several uses for Brahms' transcription of Ein Deutsches Requiem scored for soloists and chorus but with the orchestral parts arranged by the composer for two pianos. It can be useful to choirs without access to an orchestra and thus broaden the availability of the work. It can be useful to scholars studying how Brahms solved the problems of transcription and thus broaden the understanding of one of the great German nineteenth century composers. But as an arrangement, Brahms' is not itself particularly successful. Two pianos cannot compete with the long lines of the strings, the colors of the winds, the heroism of the horns, and the fateful tread of the tympani, and all that's left here is a black and white snapshot of a great work. While it may be useful to have a recording of Brahms' arrangement available, this 2003 recording by Laurence Equilbey directing Accentus with soprano Sandrine Piau, baritone Stéphane Degout, and pianists Brigitte Engerer and Boris Berezovsky is itself not especially useful. Despite the absence of an orchestra, the textures are thick to the point of opacity. Part of it is that Accentus has more weight than gravity and more density than clarity. Part of it is that Equilbey is slow to the point of turgidity and sluggish past the point of torpidity. And part of it is that Engerer and Berezovsky are terrific virtuosos with stunning recordings of Chopin and Rachmaninov behind them, but they are too much for their parts and instead of sounding like two pianos substituting for an orchestra, they sound like two virtuosos trying to sound like two orchestras. Piau is pleasant and Degout is doughty, but the performance has sunk long under its own weight before either of them open their mouths.
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Classical - Released September 10, 2012 | Warner Classics

Booklet Distinctions 4F de Télérama
Renaud Capuçon's brace of the Brahms and Berg violin concertos makes this an attractive release for Virgin Classics, though the drab cover might make it easy to overlook, and the antique appearance of the artwork could make it off-putting to classical newcomers. Capuçon is one of the most engaging young stars of the violin, and his fresh playing suggests nothing of an old-fashioned or stodgy approach. Accompanied by Daniel Harding and the Vienna Philharmonic, Capuçon plays Brahms with a light, soaring expression that is highly appealing, and his Berg is gentle and reflective, with a transparent line that communicates emotion in a satisfying song-like manner. The impulse in both performances is lyrical, and Capuçon's instincts for preserving a connected melody and suspending it with little show of effort make both concertos marvelous artistic experiences. Virgin's reproduction is rich and warm, especially in the ensemble blend, though the violin is always front and center, and it is never overwhelmed by the orchestra at its fullest or most forceful.
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Classical - Released November 10, 2011 | Phi

Hi-Res Booklet Distinctions 4F de Télérama - Choc de Classica - Hi-Res Audio
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Classical - Released January 1, 2004 | Deutsche Grammophon (DG)

Booklet Distinctions 4F de Télérama

Classical - Released January 1, 1991 | Timpani

Distinctions 4F de Télérama
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