Albums

Concertos - Released November 23, 2018 | Alpha

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Keyboard Concertos - Released October 12, 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - Choc de Classica
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Concertos - Released September 14, 2018 | ADF Musique

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Concertos - Released September 10, 2018 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Exceptional sound - Hi-Res Audio
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Violin Concertos - Released September 10, 2018 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio
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Concertos - Released September 10, 2018 | Channel Classics Records

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Keyboard Concertos - Released June 15, 2018 | Profil

Booklet Distinctions 5 de Diapason
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Violin Concertos - Released June 1, 2018 | DOREMI

Booklet Distinctions 5 de Diapason
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Concertos for wind instruments - Released January 19, 2018 | Accent

Booklet Distinctions Diapason d'or - Gramophone Editor's Choice
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Stefan Temmingh is a member of the new young generation of world-class recorder players. Born in Cape Town, he comes from a Dutch-South-African family of musicians and now lives in Munich. Being an early music specialist, he plays internationally with his baroque ensemble at renowned festivals and concert series, and can also be heard as a member of ensembles of all sizes in Europe, Asia and Africa. His fine playing is regularly compared to the style of the legendary Frans Brüggen. On this collaboration with the Capricornus Consort Basel, he makes use of his wide array of technical and musical resources to render a reference version of Vivaldi’s Recorder Concertos. © Accent

Keyboard Concertos - Released October 1, 2017 | Aeolus

Booklet Distinctions Diapason d'or
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Keyboard Concertos - Released January 5, 2018 | APR

Booklet Distinctions Diapason d'or
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Concertos - Released September 1, 2017 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica
The previous batch from the 2015 Lugano Festival was especially rich, with many of the chosen moments being particularly thrilling (Brahms’ Trio, Poulenc’s Sonata for two pianos). The 2016 Festival would in turn see one great event: the tremendous Martha agreed to play on stage, for the first time in more than thirty years, Ravel’s Gaspard de la nuit. She was worried at the thought of measuring herself against her own success from forty years ago—she recorded in 1974 for Deutsche Grammophon a Ravel LP featuring Gaspard, Sonatine and Valses nobles et sentimentales, which is still in everyone’s memory despite its disappointing sound recording. On the spot, it’s obviously all the magic from a sound completely revealing itself, and the permanence of a vision. The truly haunted tone of Le Gibet leaves a lasting impression, Scarbo’s goblin literally shatters when Ondine, completely radiant, screams her recollections of Liszt and remembers just as much Une barque sur l’océan written a few years before. The rest of the testimonies from this 2016 Lugano Festival is as varied as usual. We’ll start with the rarity among the musical repertoire that is Busoni’s Violin Concerto, in D major (like the ones from Beethoven, Brahms, Tchaikovsky), also being the opus 35 (like the ones from Tchaikovsky, Korngold), under Renaud Capuçon’s determined bow. As for the two pianos, a classic from Argerich’s repertoire, Mozart Sonata for Two Pianos K. 488 that she’s enjoyed playing regularly with her friends for a few years, here with Sergey Babayan. And let’s not forget the very sincere Horn Trio from Brahms, with the trio Capuçon, Angelich & Guerrier (in 2015, a version without horn was unforgettable), or especially Bach’s Sonata by Martha Argerich and Tedi Papavrami, which could make us forget to not have this duo play the five other works written by Bach for the same formation. We cannot ignore the too short moment from the duo Tiempo & Lechner, as thrilling as ever, here in two Falla’s dances. During this 2016 edition, Argerich also played Ravel’s Concerto in G major. Maybe not in its most extraordinary version, but listening to its phrasings, accents, and nuances that are so personal in the Adagio assai this work remains the source of a rare emotion. May this Lugano Festival resuscitate in a few years with the participation of generous sponsors nostalgic of these incredible moments. © PYL
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Concertos - Released September 1, 2017 | Warner Classics

Booklet
Sadly, the 2016 Martha Argerich Project concerts excerpted on this three-CD set are, barring further developments, the last ones. It is thus a pleasure to be able to report that the series has gone out on a high note. The format follows earlier releases in the series, with the great Argentine playing solo, joining duos and chamber ensembles, and assembling complementary performances by other performers. There's an unusually large concentration of Argerich here, and this is appropriate. There is one real standout that makes the entire set worth the purchase price: the extraordinary reading of Beethoven's Choral Fantasy, Op. 80. So alert is Argerich to the harmonic pattern of this work, and to the ways in which it prefigures the finale of the Symphony No. 9 in D minor, Op. 125 (and not just in the Choral Fantasy's second-movement theme), that the work almost seems a piano piece with orchestral-choral accompaniment. The work has never been a Beethoven favorite, but in her hands it has striking warmth and power, and it's safe to say that the roar of approval from the buttoned-down, Swiss crowd at the end has rarely if ever been equaled. There is brilliance from Argerich in Ravel's Gaspard de la nuit, gloriously old-school Bach from Argerich and violinist Tedi Papavrami, fine work from violinist Renaud Capuçon in the Busoni Violin Concerto in D major, Op. 35a (even if the Brahms Horn Trio is not so idiomatic), and lots more, all of it immediate and committed. The album should be kept on hand as a fine tribute to an artist who has been not only a star, but a great inspiration to other musicians.
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Concertos - Released July 13, 2017 | ZKP RTVSLO

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Concertos - Released June 16, 2017 | Queen Elisabeth Competition

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In 1988, after 37 years of violin, piano and musical composition (the latter was only incorporated in 1953), the voice made its entry in the Queen Elisabeth Competition. And in 2017, the cello was finally entered in the competition, exactly 80 years after the creation of what was initially called the Eugène Ysaÿe Competition. Cello winners were (in order, from First to Sixth Prize) Victor Julien-Laferrière from France, Yuya Okamoto from Japan, Santiago Cañón-Valencia from Colombia, Aurélien Pascal from France, Ivan Karizna from Belarus, Brannon Cho from the United States. Therefore, we’ll listen to these six winners’ performances (semi-final and final performances with an orchestra or in recital) recorded live, as well as several other entrants who reached the last round. We can only wish fair winds to these wonderful talents! For the record, the jury was composed of no less than Gautier Capuçon, Henri Demarquette, David Geringas, Natalia Gutman, Gary Hoffman, Mischa Maisky, Antonio Meneses, Truls Mørk and, last but not least, Pieter Wispelwey: the very best in international cello. © SM/Qobuz
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Concertos - Released May 8, 2006 | Kissan

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Concertos - Released December 2, 2016 | Pavane Records

Booklet

Keyboard Concertos - Released March 4, 2016 | CPO

Booklet Distinctions Diapason d'or
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Concertos - Released November 9, 2015 | Herald