Beethoven: Violin Sonatas was Kavakos's debut recording on Decca Classics and was released in January 2013. "The unrivaled elegance and beauty of Leonidas Kavakos's sound would be reason enough to embark with him on a traversal of the complete Beethoven sonatas for violin and piano, but it's the probing musicianship he and the excellent pianist Enrico Pace bring to it that make the ride so thrilling. The conversations, arguments and flirtations between violin and piano that Beethoven writes into these sonatas are all rendered with spirit and impeccable taste." (The New York Times) The Strad described the album as "a masterly set that combines Beethovenian ferocity and gentleness..." Sony is proud to once again present this monumental release to the public.

Firma Melodiya presents one of the best recordings of chamber music - the complete quartets of Ludwig van Beethoven performed by the State Beethoven String Quartet. The quartet existed from 1923 to 1990, almost as long as the Soviet Union did, and took a truly unique place in the history of music and performing arts of the Soviet period. Named after Beethoven in 1931, the quartet became the country's leading chamber ensemble. Beethoven and Shostakovich were two powerful musical beacons in the quartet's repertoire. The Beethovenians were the ones who convinced the young Shostakovich to turn to the genre of quartet. Shostakovich felt a deep spiritual connection with each of the musicians. In 1925, the young musicians leant Beethoven's quartet, Op. 131, and after a successful tour of Germany they ventured to perform a complete cycle of seventeen quartets. Each of the four musicians had a remarkable versatile musical gift. Dmitri Tsyganov, who gave more than fifty years to the Beethovenians, was an undeclared leader of the quartet. Cellist Sergei Shirinsky, who combined the membership in the quartet with his concertmaster duties in the cello groups of the leading Moscow orchestras, remained a supreme authority when it came to strokes and performing versions. In the early 1960s, the line-up went through a number of changes. The recordings of the Beethoven quartets were timed to the composer's 200th anniversary and became a highlight of the world-wide Beethoveniana. The set released by Firma Melodiya in the early 1970s was awarded the Beethoven's 200th anniversary commemorative medal, an honorary diploma from the Association of Japanese Musicians and the medal of the Academia Nazionale di Santa Cecilia in Italy.

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

Classical Music

Beethoven: Piano Concerto No. 4, Op. 58 & Symphony No. 3, Op

Combining the famous Third Symphony (“Eroica”) with excerpts of the lesser known ballet music “The Creatures of Prometheus,” Grammy® Award winning conductor Kent Nagano has chosen repertoire based on Beethoven’s admiration for Napoleon Bonaparte. The ballet score, written shortly before the Third Symphony, reveals the first clear signs in music of the composer’s admiration for the “Prometheus of his era.” The finale’s melody was taken from a popular French operetta of the time, which Beethoven also used in the last movement of the “Eroica.” Kent Nagano’s unique pairing of these interrelated Beethoven works evokes the enthusiasm of both scholars and casual music lovers alike.

IMMORTAL BEETHOVEN

GOULD PLAYS BEETHOVEN: 5 PIANO

GOULD PLAYS BEETHOVEN: 32 VARI

Canadian pianist Richard Raymond performs four favorite Beethoven piano sonatas, including the Moonlight, Appassionata, and Pathetique. A prize-winner in multiple competitions, Raymond has performed with the Montreal and Toronto Symphonies, and many others. He has also performed as a soloist in numerous countries, as well as playing chamber music.

With his second disc Cristian Sandrin enters a ruthless competition: Beethoven's last three Sonatas. He does it with his modesty and humility - and with his individual (if not unique) sensibility and vision. A new version of these masterpieces that is not a standard addition to the catalogue, but a very personal view of a mature artist. Under the sister label Antarctica, Cristian already released a concept disc with music by Enescu, Scott and Ravel - Correpsondances - unanimously acclaimed by international specialized media.

Among the various recordings of H.v. Karajan of Beethoven's Missa Solemnis and Mozart's Requiem (no less than 4 for each of them), the 1958 and 1961 recordings stand out among critics as perhaps his most important interpretations of this repertoire. The Missa, never released by EMI, was made available by Testament more than 20 years ago. It has not been available on the market for some time. It is actually one of the most extraordinary interpretations of Beethoven's religious masterpiece, also due to the extraordinary sound quality achieved by the Columbia technicians of the time. Mozart's Requiem was Karajan's first recording of this work. Even this production, which has always been available in the DG catalogue, is currently very difficult to find.

SOMM Recordings brings it's major six-volume series of�Franz Xaver Scharwenka's transcriptions of�Beethoven Symphonies�to a close with his 9th Symphony, the monumental Choral Symphony. Since the first volume, listeners have eagerly awaited each new release in the series from duo pianists, Tessa Uys and Ben Schoeman. As Ates Orga has noted in International Piano Magazine, "What in July 2021 began as something of a curio outing has blossomed into a major recording landmark." Beethoven first conceived the idea of setting Schiller's Ode to Joy to music when he was in his twenties; an early iteration of the theme in the song, Returned Love, comes from before 1795. His Choral Fantasy for piano, vocal soloists, mixed chorus, and orchestra followed in 1808, when he was thirty-eight. By the time he conducted his Choral Symphony No. 9 in D minor in Vienna on May 7, 1824, aged fifty-four, Beethoven was completely deaf. One of the iconic images in music history is that of the soprano gently turning him around, so he could see the rapturous response from the audience that he was unable to hear. The work had broken all barriers in terms of conception, duration, compositional power, and the incorporation of voices in the finale. The impact of the Choral Symphony was instantaneous and lasting. It was printed by Schott and Company within 18 months, and there were immediate demands for keyboard transcriptions. Given the forces that Beethoven employed in his 9th Symphony, transcribing the work for piano is challenging to say the least. The German pianist and composer, Xaver Scharwenka, was a student of Theodor Kullak, who had studied with Beethoven's pupil, Carl Czerny, thus providing Scharwenka with a singular musical line leading back to Beethoven. His duet transcriptions of all nine Beethoven Symphonies, published in 1905, still remain a touchstone for musical understanding of the cycle. The Tessa Uys and Ben Schoeman Piano Duo�began their in-concert exploration of Scharwenka's four-hand Beethoven transcriptions in 2015.�Their recording of these transcriptions for SOMM began in 2023 with volumes 1 to 5 receiving ecstatic reviews. Vol I (SOMMCD 0637) "Utterly beguiling, " BBC Music magazine. Vol 2 (SOMMCD 0650) "The performances are state-of-the-art, " BBC Music magazine. Vol 3 (SOMMCD 0666) "Clarity, conviction and impressive unanimity, " Gramophone; "CD of the Week, " Sunday Times. Vol 4 (SOMMCD 0677) "so musical... so Beethovenian as to defy criticism, " Musical Opinion.�Vol 5 (SOMMCD 0687) "remarkable ensemble synchronicity, " Jed Distler, Gramophone. Tessa Uys and Ben Schoeman have long-established careers. Uys has been awarded the MacFarren Medal by the Royal Academy of Music, where she is an Associate, and she has an impressive reputation as a concert and broadcasting performer at major venues throughout the world. Schoeman is a Steinway artist who�has performed in prestigious concert halls on several continents. Both pianists are past winners of the Royal Over-Seas League Annual Music Competition.

Few conductors of Klaus Tennstedt's generation demonstrated such complete mastery of the Classical and Romantic repertoire from Beethoven to Mahler and Strauss, coupled with an intensity in live performance that was palpable. He was among the finest German conductors to emerge after the Second World War and was in constant demand with such orchestras as the New York Philharmonic, the Boston Symphony, the Berlin Philharmonic and the London Philharmonic. Doremi's fifth Tennstedt volume of live concert material presents Beethoven's 1st and 2nd symphonies with the Toronto Symphony from a concert Sept 8, 1977, Tchaikovsky's Rococo Variations with 'cellist Paul Tortelier and the Philadelphia Orchestra (January 8, 1988) and Bruckner's 7th symphony with the Chicago Symphony, May 31/June 2, 1984.

The third and final instalment in their award-winning series, the Calidore Quartet return with a three-disc release of Beethoven Early Quartets. Their previous Beethoven recordings have been described as 'highly collectible' by BBC Music Magazine. The first album of Late Quartets won the Chamber Music Award at the BBC Music Magazine Awards 2024, and the second awarded Recording of the Month by Gramophone Magazine. The contents of this recording project serve as a snapshot of their fourteen years of working, growing, listening and collaborating together. "Our interpretation speaks to the influences of our teachers and the great traditions associated with this repertoire, but also to that of our own generation, contemporary research, style and experience. Though this music speaks in a language that is hundreds of years old, it's message remains immediate, relevant and comforting to listeners of today and of generations to come even, and especially, in the most challenging of times". Their interpretations of Beethoven are already critically acclaimed with performances at the Lincoln Centre planned as part of their residency.