With this CD box set, 35-year-old pianist Sunwook Kim presents a first-class curated selection of works by composers Ludwig van Beethoven, Johannes Brahms and César Franck. Beethoven's piano sonatas hold a special place in Sunwook Kim's repertoire. This box set contains recordings of his most famous sonatas, among others No. 8 "Pathétique", No. 21 "Waldstein" and the last three sonatas op. 109-111. With recordings of Johannes Brahms' Piano Concerto No. 1 with the Staatskapelle Dresden and Myung-Whun Chung, the Sonata No. 3 and the Six Piano Pieces, Op. 118, Sunwook Kim highlights his deep understanding of the composer's music. The collection is completed by a sensitive interpretation of the emotionally charged and highly complex work "Prélude, Choral et Fugue" by French composer César Franck.

In every way, a superior Brahms chamber release.

Their recording of the American Quartet and String Quartet No. 13, Op. 106 (Gramophone Award – Recording of the Year), elevated the Pavel Haas Quartet among the finest performers of Antonín Dvorák’s music. This position was subsequently confirmed by a recording of the composer’s quintets, made with the violist Pavel Nikl, a founding member of the ensemble, and the pianist Boris Giltburg, winner of the Queen Elisabeth Competition. The album received the most coveted classical music accolades (Gramophone Chamber Award, BBC Radio 3 Record Review Discs of the Year, Diapason d'Or, etc.). While recording the Dvorák quintets, the logical idea of a Brahms album was born. And now it has come to fruition.

Dvorák was encouraged by and ultimately attained global fame owing to the kind support and friendship of his older colleague Brahms, who in his twenties had been just as generously aided by Clara and Robert Schumann. Brahms' relationship with Clara is probably also behind the Piano Quintet in F minor, Op. 34. Originally conceived as a string quintet, in the spring of 1864 Brahms transformed it into a sonata for two pianos, yet Clara voiced her doubts about this version’s sound too. The desired contrast and richness of color was ultimately achieved by combining the strings and the piano. Clara Schumann performed the piano part at the private premiere of the quintet, which she referred to as having “symphonic” proportions. This aspect is clearly foregrounded on the present Pavel Haas Quartet recording. Brahms allegedly intended the String Quintet in G major, Op. 111, to be his last piece of music. In this light, it may come across as a reflection of the music he had cherished during his life – from Beethoven, Schubert, the Viennese waltz, his contemporary Wagner, to his beloved Hungarian dance motifs. From Dvorák to Brahms. A spellbinding “symphonic” chamber music sound.

REVIEW:

The group gets big sonorities, propelled but not overwhelmed by the piano in Op. 34 and by the cello that opens the Op. 111 quintet. The group really shines in the turbulent F minor piano quintet, as dark and intense as anything else Brahms ever wrote, and a work that went through several versions before the composer was satisfied with it. One feature of this ensemble is the variety of timbres offered by the individual players, with the rich tone of violist Luosha Fang an ideal foil for the edgier violinists. The players are aided by superb, almost tactile sound from Prague's Domovina Studio. In every way, a superior Brahms chamber release.

-- AllMusicGuide.com (James Manheim)

The first collaboration on record of long-time recital partners Viktoria Mullova and Katia Labèque. Ranging from the Schubert Fantasy of 1827 to Stravinsky’s 1933 Suite Italienne, this fascinating programme spans a tremendously exciting 100 years, in which music changed radically, rapidly, and irreversibly. These works demonstrate the massive alterations wrought in those years; the contrast between the Romanticism of Schubert and Clara Schumann, and the innovation of Ravel and Stravinsky. Yet Stravinsky’s use of Baroque music and Ravel’s appropriation of jazz show that the 20th century embraced diverse influences, including those of the past. Viktoria Mullova and Katia Labèque have played this recital together many times, and, as is clear from this recording, relish each composer’s distinctive approach to writing for violin and piano. This is a re-release of the original 2006 production.

This is the tenth release in APR’s ongoing French Piano School series which aims to present important recordings from the often-forgotten pianists who represent the very distinctive French style of playing in the first half of the 20th century. Were it not for the chronic illness which dogged him after service in WW1 and led to his premature death, Robert Lortat (1885–1938) would undoubtedly have recorded more and been remembered as one of the greatest French pianists of the 20th century. He performed a wide repertoire, including much Fauré and Debussy, magnificently, but Chopin was central to his art. He first performed the composer’s complete works from memory in five concerts in 1912 and his only recordings, presented here complete, are of Chopin. Lortat was only the second pianist to record Chopin’s complete etudes, after the Backhaus cycle of 1928 (on APR6026), and that they preceded Cortot cycle shows the esteem with which Lortat’s playing was held in France. When they have been presented before, Lortat’s recordings have suffered from very poor transfers from the original 78s. We hope these new transfers, by Mark Obert-Thorn, cast them in a new and much improved light.

Pianist, composer, and producer Sergei Kvitko’s new album, Schubert by Candlelight - Live in Madrid is a stunning collection of Schubert’s piano works. The album features thirteen piano works that showcase the beauty and depth of Schubert’s music, as well as the artistry and versatility of Kvitko, who is not only an award-winning, critically acclaimed pianist, but also a composer, arranger, producer and sound engineer. The album was recorded at Hinves Pianos, Madrid, Spain on April 7, 2022. (Reference)

Viktoria Mullova and Alasdair Beatson present their first release with Signum Classics. Performed on a period-style fortepiano and gut strings, the works presented on this recording span the final decade of Schubert’s life. Beginning with the Sonata in A of 1817, its lyrical, wistful opening giving way to a Viennese joy and exuberance. Closing with the Rondo in B minor of 1826, thrilling in its heroic journey through an abundance of themes, with twists and turns almost competitively athletic between the two instruments. At the heart of the recording, the Fantasie in C of 1827 – a music unutterably inspired, ravishingly beautiful, a tour de force of color and texture, an unpredictable and unparalleled dreamlike vision of another world.

Viktoria Mullova is known internationally as a violinist of exceptional versatility and musical integrity. Her curiosity spans the breadth of musical development from baroque and classical right up to the most contemporary influences from the world of fusion and experimental music. Scottish pianist Alasdair Beatson works prolifically as a soloist and chamber musician. Renowned as a sincere musician and intrepid programmer, he champions wider repertoire with particular interest in Beethoven, Schumann and Schubert among others.

REVIEW:

Schubert’s three mature works for violin and piano make an ideal disc-length programme, the Duo Sonata (1817) expanding on the 18th-century models that informed the three ‘sonatinas’ of the previous year, before the full power of the tragic composer’s late music is distilled in the fearsome technical challenges of the B minor Rondo (1826) and C major Fantasy (1827). Viktoria Mullova lavishes her laser-like focus and intense musicality on these works, sometimes eschewing tonal beauty...in favor of fervent expressivity. Mullova remains faithful to her Guadagnini violin, gut-strung and played with a classical bow...blazing commitment and consummate musicianship on display from both players.

--Gramophone