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Tabea Zimmermann Plays Bach & Kurtag: Solo II

Tabea Zimmermann

Classical - Released October 2, 2020 | Myrios Classics

Hi-Res Booklet Distinctions 4F de Télérama
"“We need Bach’s music, regardless of the instrument” – Tabea ZimmermannTen years after her acclaimed album “Solo” with the first two cello suites of Johann Sebastian Bach, violist Tabea Zimmermann now sets her sights on Suites Nos. 3 and 4. She pairs them with excerpts from György Kurtág’s cycle “Games, Signs & Messages”, selecting six numbers to form her own personal homage to Bach. For what kind of instruments did Bach write his solo suites BWV 1007-1012? How did they sound, what did they look like? This subject still gives rise to much speculation. Johann Peter Kellner’s manuscript copy from the early 1700s is one of the two main sources for the six solo suites, and it indicates a viola basso. The violoncello had not yet become standardized in terms of size, construction, and playing technique; Bach probably had instruments in mind such as the violoncello piccolo or the viola da spalla. The latter was a viola attached in front of the body by a strap: Bach performed the viola da spalla in public himself – possibly these suites. Tabea Zimmermann has not switched her musical hardware for this recording: here she plays her 1980 Vatelot viola with a classical bow.In 2009, the album “Solo” (MYR003) launched Tabea Zimmermann’s collaboration with the myrios classics label. The release was crowned with a multitude of international awards: Gramophone Editor’s Choice, “Stern des Monats” in Fono Forum, 4f in Télérama and 5 Stars in the Italian magazine Musica; moreover, in response to that groundbreaking recording, the jury of the coveted German ECHO Klassik Prize selected Tabea Zimmermann as “2010 Instrumentalist of the Year”."
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Schumann : Symphonies 1 & 4

François-Xavier Roth

Symphonies - Released August 21, 2020 | Myrios Classics

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The year 1841 finally marked Robert Schumann’s breakthrough as a composer for orchestra. That year, he created no less than two works: his First Symphony, also known as the “Spring Symphony”, and a piece which he initially planned as a “Symphonic Fantasy” in one move- ment, and which would later become his Symphony in D Minor. The Spring Symphony was composed in the coldest winter. Full of longing, it is a work that knows only one direction: growing, blossom- ing, the path to light and new life. The Symphony in D minor seems much more somber and intimate, “a work from the innermost depths of his soul”, as Clara Schumann noted in her diary. However, the audience could not warm up to this bold, impetuous work, and Schumann set it aside. Ten years later, after a major revision, he published it as his 4th Symphony. This album pairs the Spring Symphony with the original version of the Symphony in D minor, the version which friends such as Johannes Brahms preferred over the later edition. Schumann never heard it again in his lifetime, and it was not until 1889 that it was performed in public once more, by the Gürzenich Orchestra Cologne under the baton of Franz Wüllner. François-Xavier Roth, the Gürzenich Orchestra’s current chief conductor, also prefers the original version. With its leaner orchestration, it is certainly the more radical one, and thus requires a higher degree of commitment from the orchestra musicians in forming crescendi, melodic phrases, and extended arcs of formal development. © Myrios Classics
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Thomas Adès & Kirill Gerstein: In Seven Days

Thomas Adès

Classical - Released May 7, 2020 | Myrios Classics

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Kirill Gerstein’s decade long relationship with British composer and pianist Thomas Adès is reflected through this latest release from myrios classics. Recorded in the luxurious acoustics of the Symphony Hall in Boston, the three Mazurkas for solo piano feature alongside the world premiere recordings of Berceuse from The Exterminating Angel and the concert paraphrase on Powder Her Face for two pianos performed with the composer.Together with these works is In Seven Days for piano and orchestra which anticipated Adès’s recent piano concerto written, like Berceuse, especially for Kirill. The live performance was captured in the Seiji Ozawa Hall as part of the 2018 Tanglewood Music Festival, with Adès conducting the Tanglewood Music Centre Orchestra. © myrios classics
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Richard Strauss: Enoch Arden

Bruno Ganz

Classical - Released February 14, 2020 | Myrios Classics

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Brahms : String Quartet No.3, Op.67 & Piano Quintet, Op.34

Hagen Quartett

Classical - Released October 18, 2019 | Myrios Classics

Hi-Res Distinctions Diapason d'or
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Busoni: Piano Concerto

แม็ค โกสินทร์

Miscellaneous - Released March 1, 2019 | Myrios Classics

Hi-Res Booklet Distinctions 4F de Télérama - 5 Sterne Fono Forum Klassik
Ferruccio Busoni said that there were essentially two types of piano concertos: the Mozart type, where the soloist has the spotlight, and the Beethoven type, where he or she supports the orchestra. In his own sole piano concerto, he went on to combine the two. Sample the fourth minute of the vast first movement here, where the piano's entrance is very Beethovenian despite the increased scope. It is, however, punishingly difficult, so much so that Busoni himself, a formidable pianist, declined to perform the work as a rule. After the piano's entrance, you get a little of everything: not only Beethoven but Wagnerian drama, Tchaikovskian sentiment, a tarantella in recognition of Busoni's roots, and, to top it all, a choral finale à la the Choral Fantasy in C major, Op. 80, of Beethoven. And, to top that, its text is a vaguely Islamic one. There are several recorded performances of this work available, although not as many as you might think. Those new to the work can select this one with confidence. It was recorded live with the Boston Symphony under Sakari Oramo and Russian-American pianist Kirill Gerstein, who must have done some intervals training in preparation for this, as soloist. Oramo's tempos are brisk relative to other performances, and that gives the reading a live-wire quality, a strong live-recording X factor. Gerstein fully keeps up. It might be that Busoni had broader charisma in mind for the opening, but the results here are conditioned by Oramo's tempos, and the music gathers force as it proceeds. The second-movement "Pezzo giocoso" and the fourth "All'Italiana" are slashing and edgy in Gerstein's hands, and the Tanglewood Festival Chorus is gloriously warm in the finale. A note to radio programmers and potential buyers: the performance gets more than a minute of applause at the end, and it fully deserves that applause. © TiVo
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Cello Concertos of 1966 (Édition 5.1)

Maximilian Hornung

Cello Concertos - Released November 2, 2018 | Myrios Classics

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Two “Soviet” concertos for cello and orchestra, both written in 1966, that is the idea behind this recording of cellist Maximilian Hornung. Of course, the most famous of the two is and remains Shostakovich's Second Concerto, written for and premiered by Rostropovich. Less famous, except perhaps in Georgia, is the Georgian composer Sulkhan Tsintsadze (1925-1991), himself a renowned virtuoso cellist, who composed an impressive number of chamber music, concertos, symphonies, operas, oratorios, completely ignored by the rest of the world, what a pity. Tsintsadze, as might be thought from a "regional" Soviet composer, often borrows from the folklore of his country, but this is in no way a limitation or a specialization, no more than the way Khatchaturian would sometimes borrow from Armenia. Here is his Concerto No. 2 in five episodes, in which Tsintsadze is certainly quite indebted to Shostakovich, but also to Prokofiev undoubtedly, even to Khatchaturian here and there. The instrumental language is both brilliant and idiomatic. The contrast between his concerto and that of Shostakovich – keeping in mind that they both date from the same year – is striking. The cellist Maximilian Hornung has already performed as a soloist with the Bavarian Radio Orchestra, the Tonhalle Zurich, the London Philharmonic, the Orchestre National de France, the London Philharmonia; in short, many of the most prestigious orchestras in the world. © SM/Qobuz
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The Gershwin Moment – Rhapsody in Blue & Concerto in F

Kirill Gerstein

Classical - Released February 16, 2018 | Myrios Classics

Hi-Res Booklet Distinctions Gramophone Editor's Choice
After several albums respectively dedicated to Liszt's Transcendental Études or Mussogorsky and Schumann, or to Concertos by Tchaikovsky (the First) and Prokofiev (the Second) for the Myrios Classics label, Russian-American pianist Kirill Gerstein is diving into the colourful and rhythmical world of Gershwin. Happily, he has chosen the Jazz Band (1924) version of Rhapsody in Blue, which he has transformed into an almost-cubist work, in perfect symbiosis with the equally-keen work of David Robertson: the piano-playing is really angular, sometimes chilling; the brass recalls the most modernist work of Bartók or Prokofiev or the new American music, at the start of the 1920s. The same goes for 1925's Concerto in F, the extraordinary Earl Wild's cool playing under the direction of Arthur Fiedler (RCA, 1959) dissipates with Gerstein and Robertson, to make way for more percussive sounds. Kirill Gerstein also offers - this album being made up of recordings made in concert - various arrangements (or paraphrases) of some of the more famous American songs, including a particularly juicy I Got Rhythm from Earl Wild. A particularly stimulating album for the winter months. © 2018 Théodore Grantet/Qobuz
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Schumann : Es war einmal… (Märchenerzählungen)

Jörg Widmann

Trios - Released November 17, 2017 | Myrios Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - 5 Sterne Fono Forum Klassik
An unusual and yet particularly clever juxtaposition can be found on this album, which consists in mirroring Schumann’s 1853 Märchenerzählungen (Tales, implicitly for children) for viola, clarinet and piano – as well as, still in the realm of fairy tales, Fantasiestücke (Fantasy Pieces) for clarinet and piano and then Märchenbilder (Fairy Tale Pictures) for viola and piano – and Jörg Widmann’s Es war einmal... Fünf Stücke im Märchenton (Once Upon a Time – Five Pieces in a Fairy Tale Tone). While being a contemporary, even a modernist artist, Widmann was indeed largely inspired by Schumann’s Märchenerzählungen, his work sprinkling with reminiscences, allusions and barely disguised quotes, superimposed to today’s language – so much that, at some point, one could be led to believe both tracks were playing at the same time, Schumann’s and Widmann’s! Ever since the first great creators, the art of “recycling”, reusing and rewriting is one of the main driving forces behind artistic creation; in fact Widmann is only following this proven model. Tabea Zimmermann on viola, Dénes Várjon on piano and on clarinet, no other than the composer himself: Widmann of course, not Schumann who, as everyone knows, doesn’t play the clarinet. © SM/Qobuz
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Liszt: Transcendental Etudes

Kirill Gerstein

Solo Piano - Released August 24, 2016 | Myrios Classics

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Franz Liszt's Transcendental Etudes have enjoyed renewed interest among pianists who wish to showcase the composer in all his aspects as a virtuoso performer, mystic, and innovator of piano techniques. This collection of visionary pieces is much more than a group of challenging exercises, rather, more a summation of Romantic thinking, both musical and poetic. Liszt was one of the great creators of evocative character pieces, of which Feux follets and Harmonies du soir have become representative examples. But the whole work is an excellent vehicle for Kirill Gerstein's bravura abilities and his deeply reflective expressions, which make this performance a worthy addition to the growing catalog. Perhaps the most striking characteristic of Gerstein's playing is his subtle displays of color, even in the midst of fiendishly difficult passages. Gerstein's prismatic timbres and shadings of articulation are fascinating to explore on listening, and his exceptional artistry makes this recording of the Transcendental Etudes a must-have for any collection. The hybrid SACD gives Gerstein a great sound advantage, and the spacious ambience of the Siemens Villa in Berlin gives the performance an appealing balance of physical presence and resonance. © TiVo
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LISZT Transcendental Etudes (5.1 Edition)

Kirill Gerstein

Solo Piano - Released August 24, 2016 | Myrios Classics

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Schubertiade

Julian Prégardien

Lieder (German) - Released January 22, 2016 | Myrios Classics

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Schubertiade (5.1 Edition)

Julian Prégardien

Lieder (German) - Released January 22, 2016 | Myrios Classics

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An die Geliebte (Beethoven, Weber, Strauss, Wolf) (5.1 Edition )

Julian Prégardien

Lieder (German) - Released June 3, 2014 | Myrios Classics

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Mozart : String Quartets K. 387 & K. 458 (5.1 Edition)

Hagen Quartett

Quartets - Released February 5, 2016 | Myrios Classics

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Mozart : String Quartets K. 387 & K. 458

Hagen Quartett

Quartets - Released February 5, 2016 | Myrios Classics

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
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Tchaikovsky & Prokofiev: Piano Concertos

Kirill Gerstein

Keyboard Concertos - Released March 10, 2015 | Myrios Classics

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Tchaikovsky & Prokofiev: Piano Concertos (5.0 Edition)

Kirill Gerstein

Keyboard Concertos - Released March 10, 2015 | Myrios Classics

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Imaginary Pictures (Moussorgsky & Schumann)

Kirill Gerstein

Classical - Released June 10, 2014 | Myrios Classics

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An die Geliebte (Beethoven, Weber, Strauss, Wolf)

Julian Prégardien

Lieder (German) - Released June 3, 2014 | Myrios Classics

Hi-Res Booklet Distinctions 5 de Diapason - Exceptional Sound Recording