This fascinating release of Beethoven’s Symphony No. 9 stands apart from any other recording of the work. This is the first time that the magnificent piece has been recorded in HD and 5.0 surround sound, offering the most outstanding sound quality available today. Christian Thielemann leads the Wiener Philharmoniker in this moving interpretation. “Thielemann’s reading of the Beethoven symphonies stands heads and shoulders above the countless and mostly undistinguishable versions on offer.” (Die Presse) This performance is accompanied by an hour-long documentary featuring the conductor and Germany’s foremost music critic, Professor Joachim Kaiser. The film provides insights into Beethoven’s thinking, as well as interpretal comparisons from conductors like Karajan, Bernstein, and Jarvi.

Some classical compositions are at a first hearing not always so easy to comprehend. In the case of the 33 Diabelli Variations it may be a challenge for some listeners. The connections with Diabelli's waltz theme are always present, but at times well hidden behind the surface. Beethoven began working on the composition in 1819 and completed it in 1823. The work was published by Diabelli's new publishing firm in 1824. It is without doubt one of his greatest achievements. This masterpiece that without difficulty can stand next to any of Beethoven's later works, or masterpieces like Bach's Goldberg variations, was so original for it's time that even Anton Diabelli must have been quite bewildered by what was possible with his rather simple, even may we say, banal theme. The work, like most of Beethoven's compositions, such as his string quartets and piano sonatas, is a monumental addition to the solo piano variations repertoire. Master pianist Geoffrey Madge returns after lots of contemporary world premieres (fe Xenakis, Skalkottas, Krenek and the integral performances of the monumental Opus Clavicembalisticumby K. Sorabji, back to the classics: Beethoven's Diabelli Variations!

“…Weithaas and Várjon have a great deal to say and are not afraid to say it, but their focus of interest is always and emphatically Beethoven – not themselves.” (MusicWeb Intern’l July 23).

Both highly in demand on a worldwide scale as unique, exceptional chamber music performers: Antje Weithaas and Dénes Várjon each ideally combine the highest degree of enthusiasm and precision: their energetic, passionate playing is the result of intense concentration and precision, combined with a large portion of musicality.

“In Antje Weithaas’s und Dénes Várjon’s complete edition of these sonatas in three volumes, each individual release is designed to illustrate those stages of artistic development (instead of featuring the works in strict chronological order). From the onset, Beethoven ascribed utter importance to the principle of dialogue between the two instruments, as we can infer from a letter he wrote to Artaria on 19 June 1793…
The current Vol. 2 release contrasts the third sonata (in E Flat Major) of the early Op. 12 group with the second and third sonatas of Op. 30. The CD begins with the C Minor Sonata Op. 30, which is undoubtedly one of the two most dramatic sonatas among all ten works in the same genre (the other one being the “Kreutzer” Sonata Op. 47).

The E Flat Major sonata is also the most dramatic one within Op. 12. On the other hand, the last sonata (G Major) in Op. 30 provides a contrast in the form of a cheerful “final dance” (Kehraus), a function it also fulfils on this CD in the wake of the E Flat Major Sonata Op. 12.

The performance is inspired by a significant historical moment, where Beethoven played the"Eroica" Symphony on his Erard Frères piano, evoking the idea of a musical experience so powerful that "Heaven and Earth must shake." Luca Montebugnoli has created a brand-new arrangement of this iconic symphony, tailored for a replica of Beethoven's Erard piano. This unique arrangement offers a fresh perspective on a classical masterpiece.The event contributes to the revival of the often overlooked art of piano arrangement. It showcases the skill of adapting orchestral works for solo piano performance, breathing new life into this artistic tradition.

An unfairly forgotten Danish master pianist!

Arne Skjold Rasmussen was one of the finest Danish musicians and a truly virtuoso pianist. Nerves and the lack of interest in the concert halls kept him away from the audience. As a professor in piano at the Royal Danish Music Academy he was much sought after. The whole idea of making recordings he detested and his discography is small. Here are all the solo recordings he did for the Danish TONO label. There are no concerto recordings and only a small handful of chamber music recordings done shortly before he died.

His Beethoven sonatas, sadly only those on this 2 CD set, are among the most convincing and overwhelmingly authentic. He was brought up in the Carl Nielsen tradition and his rare Nielsen recordings are probably the closest we will ever get to that Danish composer. Extensive notes from the Skjold Rasmussen specialist Jonas Barlyng and the high class transfers by Claus Byrith underlines the importance of this piano release. Remember the other releases in this series 3 sets featuring Danish Women Pianists One with pioneer Danish pianists and now 6 volumes with the great pianist Victor Schiøler.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

"...frenetic, unending applause for his dramatically accented performance, his daredevil cadenza in the first movement, the eloquent large and the urgency of the concluding rondo. He had to take one bow after another.“ -Piano News Alexej Gorlatch was the winner in the piano category at the 60th annual ARD Music Competition in 2011. His interpretation of Beethoven's 3rd Piano Concerto not only convinced the high-ranking jury, but also the audience, bringing him both a first prize and the audience prize. At the age of twelve, Alexej Gorlatch became a junior student at the University of the Arts in Berlin where he studied with Martin Hughes; from 2002 to 2007 he studied with Karl-Heinz Kämmerling in Hanover. After graduating from secondary school, he now continues his music studies there