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Classical - Released May 20, 2016 | CPO

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Chamber Music - Released February 5, 2021 | CPO

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For the biographer Karl Holl chamber music was “Friedrich Gernsheim’s very special artistic domain”. The composer again and again returned to this field during the course of his life, from his beginnings in Leipzig and Paris to his later Berlin years. The Violin Sonatas in particular stand out in this group within his oeuvre because they, more than any other genre, document his compositional development. Things began with the fourteen-year-old’s Sonata in E minor, composed for exercise purposes in Leipzig and heard here for the first time on album, and continued by way of his Op. 4, his first full-fledged contribution to this genre, to the mature Op. 50, Op. 64 and Op. 85, with thirteen to fourteen years separating the composition of each of these works. The Fourth Sonata, a work dedicated to Henri Marteau, may be regarded as the high point of Gernsheim’s duo oeuvre: here his contrapuntal line of thought, something that he had always cultivated, extends over the entire composition. © CPO
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Classical - Released February 5, 2021 | Toccata Classics

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Friedrich Gernsheim (1839-1916), born in Worms, on the Rhine, grew up to be one of the most formidable musicians of his age: composer, pianist, conductor and teacher. Even as a teenager, Gernsheim was attracting attention as a virtuoso-composer, earning comparisons with Mozart. The works here document the emergence of his own musical personality, from an early sonata, which has a Mozartian opening and a Beethovenian slow movement, via a dalliance with Schumann, until he reaches a mature style comparable to Brahms in its emotional range and depth. © Toccata Classics
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Duets - Released July 6, 2018 | CPO

Booklet Distinctions 5 de Diapason
To be sure, when you hear the Third and final Sonata for Cello and Piano by Friedrich Gernsheim, it is hard to imagine that it was written... in 1914. But don't forget: Gernsheim was born in 1839, only shortly after Saint-Saëns and Bizet, and in the same year as Mussorgsky, and his long life only came to an end in 1916. And like Saint-Saëns, he made no attempt to accommodate himself to the latest revolutions brought about by Debussy and Stravinsky – to say nothing of Schönberg who had by then already written Pierrot Lunaire – rather, he preferred to carry on in the furrow ploughed by Brahms, and here and there we also hear a few echoes of the early Mahler. As the listener will have grasped, there is nothing avant-garde about this, but instead it's beautiful writing, carefully-crafted, lyrical, harmonious, at times violent – this is the end of the later Romanticism, in particular with the Third Symphony an also the Second Sonata of 1906. Cellist Alexander Hulshoff, who is joined at the piano by Oliver Triendl, takes on these rarities with an ardour and a conviction which are utterly contagious. We also find a beautiful isolated piece, inspired by Jewish art, Elohenu – as is Bruch's Kol Nidrei which is also for cello: and yet Bruch was the son of a Protestant pastor! Gernsheim was of Jewish descent, at a time when it was hardly an issue: one was either a good musician or not, and that was all. Elohenu followed a year after Kol Nidrei, in 1881, and was written as a friendly response to a respected colleague. © SM/Qobuz
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Classical - Released June 25, 2013 | CPO

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Violin Concertos - Released November 6, 2015 | CPO

Booklet Distinctions 5 de Diapason
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Classical - Released June 7, 2019 | Toccata Classics

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Friedrich Gernsheim (1839–1916), born in Worms, on the Rhine, grew up to be one of the most formidable musicians of his age: composer, pianist, conductor and teacher. Even as a teenager, Gernsheim was attracting attention as a virtuoso-composer, earning comparisons with Mozart. These two early piano sonatas – restored by Jens Barnieck from Gernsheim’s manuscripts – combine youthful freshness with praeternatural assuredness, showing awareness of Schumann and anticipating Brahms. By the time of the Six Preludes, written a decade later, Chopin has become the dominant star in Gernsheim’s firmament. © Toccata Classics
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Chamber Music - Released June 21, 2019 | CPO

Booklet Distinctions 5 Sterne Fono Forum Klassik
As the author of five string quartets (composed between 1872 and 1911), multiple symphonies and an extensive catalogue of chamber music, Friedrich Gernsheim (1839-1916) was a solitary genius who was all-too-often ignored. Born in Worms into a cultured and well-to-do Jewish family, he quickly made a name for himself thanks to his exceptional talent and maturity. At the age of sixteen, with his qualifications under his belt, he went to try his luck in Paris. It was there that he met Liszt, Lalo, Saint-Saëns, Rossini and Berlioz. Though the pull back to his country of birth was strong and he eventually settled in Cologne, where he became director of the Conservatory.He was admired by Mahler and Strauss, a childhood friend of Bruch and exchanged extensive correspondence with Brahms. The two quartets recorded on this first volume by the brilliant Diogenes Quartet immediately attract attention for their effusive and tormented elements. While the influence of Brahms and Dvořák is palpable, the pieces are perfectly unique and have not deserved to be forgotten. The rise of Nazism in the 1920s was obviously not conducive to the diffusion of his music. Instead, it is the Diogenes Quartet (founded in 1998) who get to enjoy that honour. They have prepared a complete set of these five quartets, this album being the first exciting volume. © François Hudry/Qobuz
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Chamber Music - Released August 7, 2015 | CPO

Booklet Distinctions 5 de Diapason
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Chamber Music - Released October 1, 2009 | Brilliant Classics

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Symphonic Music - Released May 21, 2007 | Antes Edition

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Chamber Music - Released June 1, 2016 | Brilliant Classics

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Classical - Released October 11, 2019 | Genuin

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Anna Gann (soprano) and Naoko Christ-Kato (piano), the two musicians of Gernsheim Duo, present sensational finds on their Genuin-Platte. The 22 lieder by Friedrich Gernsheim, which they interpret with high sensitivity and insight, are recorded here for the first time. The composer is one of those Jewish musicians who was influential before the Holocaust and is almost forgotten today. The Gernsheim Duo is committed to the musical works of such composers and deserves praise for their efforts! The historical and musical value of these lieder, which have been meticulously compiled, cannot be overestimated⁠—and the mastery of the two interpreters does them justice. © Genuin
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Chamber Music - Released October 2, 2012 | Toccata Classics

Booklet Distinctions 5 de Diapason