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Solo Piano - Released October 11, 2007 | Mirare

Booklet Distinctions Diapason d'or - Choc de Classica
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Classical - Released September 1, 1998 | INA Mémoire vive

Booklet Distinctions 4F de Télérama - Joker de Crescendo
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Classical - Released September 2, 2008 | Mirare

Distinctions 4F de Télérama
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Classical - Released November 8, 2011 | Mirare

Booklet Distinctions 5 de Diapason
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Classical - Released April 9, 2010 | Mirare

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Classical - Released May 19, 2017 | Accentus Music

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Classical - Released November 20, 2015 | Accentus Music

Chinese-French pianist Zhu Xiao-Mei is something of a Bach specialist, and her wonderful recording of Bach's swan song, Die Kunst der Fuge, BWV 1080 (The Art of the Fugue, not "the art of fugue" as it is translated here), is something of a summation of her work in the field. Zhu has few competitors nowadays in fully pianistic, Steinway grand interpretations, and her reading can stand comparison with the great piano versions of the past. She balances on the knife edge, making use of the full capabilities of the piano but not taking Bach a step out of his era. Zhu carefully builds up the work's macro structure, emphasizing the step-by-step development of the work's basic fugal material with piano articulation. As the great set of fugues proceeds, she introduces more expressive shading and complexity, in parallel with the mind-boggling developments in the music itself, and the final quadruple fugue, breaking off at the point of Bach's death, seems almost to break on through to the other side. The recording was made at Bach's own workplace: Leipzig's Thomaskirche. This is perhaps not where such a chamber work would have originally been performed, but the location adds an indefinable layer to the performance, perhaps one associated with the player's own reaction to the space. This is a recording that will continue to be richly rewarding over many hearings. © TiVo
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Classical - Released October 30, 2015 | Accentus Music

The Inventions and Sinfonias of Johann Sebastian Bach are essential training pieces for young pianists, so they are quite well-known, though somewhat less venerated than the Well-Tempered Clavier, the Goldberg Variations, and the Art of the Fugue, which are regarded as much more challenging and lofty. Yet Zhu Xiao-Mei's recording on Accentus Music demonstrates that these are not mere exercises or easy pieces for beginners, but artistically challenging works in their own right, in which every choice is evident in the exposed two-part and three-part counterpoint. This album was recorded in the Mendelssohn Room at the Gewandhaus in Leipzig, which has lively acoustics that complement Zhu's playing without drowning her sound or taking the edge off her crisp articulation. Listeners who prefer to hear these pieces played on harpsichord may not care for any performances on piano, but Zhu is so meticulous and precise in her execution, even a Bach purist can appreciate her skills and ability to make these pieces intellectually and emotionally satisfying. © TiVo
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Classical - Released May 27, 2016 | Accentus Music

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Classical - Released December 4, 2008 | Mirare

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Classical - Released January 10, 2012 | Mirare

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Classical - Released July 15, 2016 | Mirare

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