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Classical - Released June 15, 2015 | INA Mémoire vive

Distinctions Diapason d'or de l'année - Diapason d'or - Choc du Monde de la Musique - Recommandé par Répertoire
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Classical - Released June 10, 2015 | INA Mémoire vive

Distinctions Diapason d'or de l'année - Diapason d'or - Choc du Monde de la Musique - Recommandé par Répertoire
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Classical - Released January 1, 2010 | Decca Music Group Ltd.

Booklet Distinctions Diapason d'or - 4F de Télérama

Classical - Released August 6, 2013 | Audite

Booklet Distinctions Diapason d'or - 4 étoiles de Classica
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Classical - Released June 10, 2015 | INA Mémoire vive

Booklet Distinctions 5 de Diapason - 4 étoiles de Classica
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Concertos - Released July 1, 2013 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or

Solo Piano - Released February 9, 2018 | SWR Classic

Booklet Distinctions 5 de Diapason
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More precisely: 10 April 1953 in the great hall of the Holy Orders of the baroque castle of Ludwigsburg. Clara Haskil, who sadly only had five more years left to live, albeit the happiest and most fertile of her life: with Swiss nationality and a booked-out diary, she could finally give herself over to music without worrying about survival or exile. This most prodigious period of recording gave us Mozart, to be sure, but also rarer repertoires, like Ravel or Debussy, as documented in this publication - in which, indeed, she avoids Mozart altogether! The pièce de résistance is surely the 32nd Sonata Op. 111 by Beethoven, which she plays quite differently from how we are used to hearing it: under her fingers, the fire still crackles, but Haskil knows not to make it a perpetual volcano, which would harm the discourse. Who knows whether it was her fragile health that forced her to go easy - but whatever the reason, musically at least, it is a good thing she did. The programme continues with some rather more transparent pieces from Schumann – the Abegg Variations in particular – before sojourning a while on the other bank of the Rhine with two Études by Debussy, which she plays dreamily; Sonatine by Ravel which she dreams , playfully, before closing with a choral from Bach (the Cantor who opened the proceedings), and a delicate adieu from Schumann, "Abschied" from the Waldszenen. The grande dame of the piano passes into tender silence, rather than ending the concert with virtuoso explosions. 10 April 1953 was a fine day! © SM/Qobuz
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Classical - Released January 1, 1959 | Decca Music Group Ltd.

Distinctions The Qobuz Ideal Discography
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Solo Piano - Released July 1, 2013 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or

Classical - Released July 1, 2015 | Andromeda

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Classical - Released December 27, 2007 | Archipel - Walhall

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Classical - Released January 1, 1993 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2006 | Decca Music Group Ltd.

There must be more to Clara Haskil than merely her defective technique. There would have to be, or Philips would not have reissued this seven-disc collection of her recordings made between 1951 and 1960. But, after listening to Haskil play, it's hard to say what that more might be. In the solo works, Haskil's tempos are full of extravagant rubato and unscheduled accelerandos, while her textures are thick with smudged inner lines. In the works with orchestra, she's the same only more so with unexpected tempo changes that leave the conductor scrambling and a tone that only rarely manages to rise above the level of the orchestra. Of course, all that interpretive heaving and hoing came standard equipment with her training in the French post-Romantic style by Alfred Cortot, but even for that famously sloppy school, Haskil was an amazingly sloppy pianist. Listen just to her 1959 performance of the first movement of Schumann's Piano Concerto with Willem van Otterloo and the Philharmonisches Orchester Den Haag: listen to the smashed chords of the opening flourish, to the flailed double octaves at the first theme's climax, to the callous shallowness of her second theme's tone, to the missed notes in the build up to the third theme's climax, and especially to the buckets of dropped notes in the cadenza's hardest passages. Though she can get through the easier works here, and though she does bring to slow movements a species of barely restrained intensity, there is not much more to Haskil, finally, than the vicarious thrill of her nervous excitement. Unlike Philips' golden and glowing later piano sound, the sound here is dim, gray, and grim even in the more recent recordings.

Classical - Released March 1, 2019 | Orfeo

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Classical - Released January 1, 1996 | Deutsche Grammophon Classics

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Classical - Released August 17, 2018 | Decca Music Group Ltd.

Classical - Released June 3, 2014 | Jube Classic

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Classical - Released November 21, 2015 | Mangora Classical

Classical - Released July 1, 2016 | Andromeda

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