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 8th volume of live recordings of Klaus Tennstedt feature symphonies by Haydn (No. 103 "Drumroll"), Mozart (No. 36 "Linz") and Tchaikovsky (the Pathetique), together with Janacek's Sinfonietta and Mozart's Piano Concerto No.26 with Bruno Leonardo Gelber.
Janacek: Zapisnik zmizeleho/The Diary of One Who Disappeared
DUX
CD
$24.99Oct 02, 2026
Leos Janacek's The Diary of One Who Disappeared stands among the finest masterpieces of 20th-century vocal literature and remains one of the composer's most frequently performed works. Straddling the boundary between song cycle and cantata, this extraordinary vocal drama is based on a poem attributed to Ozef Kalda, whose true authorship was only uncovered more than eighty years after it's publication. A powerful ballad of sensual love and longing, The Diary of One Who Disappeared has inspired musicians, visual artists, theatre directors, filmmakers, and creators across disciplines for over a century. Janacek's original scoring-two soloists, chorus, and piano-already hints at the work's remarkable theatrical potential. This recording presents the piece in a compelling new chamber orchestration by Arthur Lavandier, whose refined and imaginative instrumentation vividly illuminates the protagonist's inner world of emotions and psychological transformation. Drawing on the finest traditions of the Second Viennese School, Lavandier's arrangement achieves it's expressive power through remarkable economy of means, meticulous attention to detail, and a masterful command of instrumental colour.
Signum Quartett presents the album the earth trembled, recontextualising the visionary string quartets of Leos Janacek alongside the striking String Quartet Op. 8 by Vitezslava Kapralova. Janacek's lifelong engagement with folk traditions shaped these works profoundly; he lays bare an extraordinary spectrum of feeling, exposing the innermost reaches of his psyche with an almost unsettling immediacy, music in which the earth really does tremble. Set against this, Kapralova's quartet offers balance: a strikingly youthful yet assured voice emerging from the same cultural milieu, opening an equally compelling emotional range. Interspersed throughout are fragments of Janacek's folk song arrangements and intimate miniatures from his album for Kamila Stosslova, whose absent voice subtly haunts the programme, weaving a fragile, imagined narrative between the works. This recording offers a fresh perspective on works that have accompanied the Quartett for many years and remain among the most emotionally overwhelming in the repertoire. Signum Quartett is frequently hailed as one of the most adventurous and outstanding ensembles of today. This is the quartet's fourth album with PENTATONE, after the Schubert cycle including Aus der Ferne (2018), Ins stille Land (2020), and Lebensmuth (2023).
For so many, coming out is framed as a kind of reckoning-a threshold one must cross, as if queerness begins in secrecy and only later earns the right to be spoken aloud. That narrative suggests burden before freedom, fear before love. But why should love require courage simply to exist? Such is the world we've inherited. For centuries, desire that fell outside society's narrow definitions was forced underground, met with shame, exile, or silence. In that silence, letters became a refuge: fragile but fearless vessels for truths that could not be safely expressed aloud. The Secret Letter re-imagines a program of the same name performed by Cantus in the spring of 2025, weaving music together with excerpts from letters by Marcus Aurelius, Oscar Wilde, Walt Whitman, Emily Dickinson, and others. These interludes offer fleeting access to private moments of longing, devotion, and vulnerability, while the surrounding music expands and amplifies their emotional terrain, carrying forward their tension, tenderness, restraint, and release. Letters are remarkable things. They are both private and exposed, meant for a single reader yet capable of outliving both the writer and recipient. Passed between trembling hands, they hold confessions, desires, and love stories told in ink rather than whispers. The Secret Letter bears witness and celebrates queer love that has always existed-persistent, imaginative, and worthy of song-and that even in secrecy, has found ways to speak, to sing, and to survive.
The Elastic Heart of Youth Preface - Notes of Renewal If we understood the world, we would realize that there is a logic of harmony underlying it's manifold apparent dissonances. - Jean Sibelius, In 1907, in conversation with Gustav Mahler. Originating in distinct musical dialects - Baroque, Classical, Nordic, Slavic, French, and contemporary - the works recorded here are bound together by a vivid, elastic heart: a profound spirit of vitality that endures through tension and release, stillness and motion, loss and restoration. Beneath their differing voices beats a kindred pulse shared with the natural world. Sibelius's Le Sapin evokes the spruce's calm and poise, it's hushed sonorities suggesting their own logic of repose. Janacek's Sonata 1.X.1905 bears witness - urgent, searching, unafraid-it's broken arcs invoking the dissonances of modernity's estrangement from nature and the fragile openings through which rebirth begins. Debussy's etude pour les arpeges composes and La fille aux cheveux de lin shimmer with shifting light and color, while Clair de lune unfolds in the moon's tender chiaroscuro, a meditation of light, shadow, and serenity. Mozart's Fantasy in D minor restores grace and clarity not by denying shadow, but by transfiguring it; it's improvisatory nature finds form through discovery. Scarlatti's sonatas dance with quick, inventive pulse: sunlight on stone, castanets crossing through the air. Their brilliance is youthful joy tempered by seasoned experience. Gross's Solace turns inward towards repose. Here the heart practices a different virtuosity - the courage to be calm, to let resonance and renewal begin. Even in this quietude, her music recalls nature's adaptability, it's patient recalibrations in the face of change. Missy Mazzoli's The Elastic Heart of Youth gathers all these energies into a radiant celebration of life. It's tensile rhythms and glowing harmonies echo the supple strength of the living world-the capacity to bend, to adapt, to begin again.
Tae-Hyung Kim's Echoes in the Mists is a poetic journey through a century of piano music, tracing a line from early Romanticism to early modernism. The album opens with Franz Liszt's masterful transcriptions of Schubert's Lieder-works that preserve the songs' lyrical intimacy while expanding their expressive possibilities on the piano. These include Fruhlingsglaube, Standchen von Shakespeare, and excerpts from Die schone Mullerin, where Liszt illuminates Schubert's emotional worlds with subtle pianistic colour and occasional virtuosic flourish. At the heart of the programme lies Robert Schumann's Waldszenen, a deeply introspective cycle in which nine miniature scenes form an imaginative, poetic walk through an inner forest-alternating between joy, mystery, tenderness, and melancholy. Through this selection, Kim highlights the richly interconnected sound worlds of Schubert, Schumann, and Liszt, revealing both continuity and evolution within the Romantic tradition. The album's second half turns toward a different aesthetic with Leos Janacek's V mlhach (In the Mists), written in 1912, a work shaped by personal grief and the composer's late-style search for distilled expression. It's four movements form a single, mist-shrouded psychological landscape, where fragmentary motives, speech-like rhythms, and shifting tonal colours create a fragile, introspective atmosphere. While faint traces of Debussy's influence may be heard-particularly in the luminous openings and closings-the music remains unmistakably Janacek's in it's tension, fatalism, and emotional immediacy. By juxtaposing these radically different composers, Kim creates an album that reflects the transformation of piano writing from Romantic lyricism to early modern expression, inviting listeners to hear how echoes of the past resonate through changing musical languages.
Black Rainbow is a deeply personal musical journey in which violinist and vocalist Julija Hartig explores questions of belonging, identity, and heritage. The album connects her multicultural roots-Hungarian, Czech, Slovak, and Austrian-to her Yugoslavian upbringing, weaving a narrative about migration and ancestral memory. The title work, co-created with Akim Moiseenkov, fuses violin, voice, and live electronics to tell the story of three generations of female migration through sound, using folk elements, recorded voices of her ancestors, and electronic textures. This composition serves as both a meditation on the flow of culture and a sonic bridge between past and present. Through the music of Leos Janacek, Fazil Say, and George Enescu, Hartig continues this exploration of roots and renewal. Janacek's folkloric sonata evokes her sense of "home," while Say's modern improvisational language resonates with her Balkan background. Enescu's Romanian-inspired sonata becomes a revelation of shared ancestry and emotional kinship. Together with pianist Reineke Broekhans, her long-time musical partner and soulmate, Hartig turns Black Rainbow into more than an album-it is a reflection on the "Ancestral Code," showing that wherever we go, the sound of our heritage remains within us
This album features some of the most beloved works from the piano repertoire, all united by a common theme of distant reminiscences of lost happiness-either directly expressed in the titles of the pieces or subtly woven into the music, as in Schubert's Sonata in A Major, written just months before his death. It is both a tribute to Beethoven's style and a quintessential example of Schubert's unique blend of intimate emotions, expressed through lyrical motifs. While the virtuosic pianism is never absent, it takes a back seat to the emotional depth and expressiveness at the heart of the work. The cycles of Leos Janacek were composed during the darkest period of his life. His On an Overgrown Path memorializes his daughter, who tragically passed away, while In the Mists with it's transparent texture and innovative harmonies captures the internal void and confusion of the composer. Schumann's Kinderszenen (Scenes from Childhood) evokes the perspective of an adult looking back with nostalgia, longing for the simplicity and innocence of childhood. The music, with it's straightforward and sometimes naive language, mirrors the idealized view of the past. Min Jung Lee, a versatile and sensitive artist, delivers a deeply evocative interpretation. In her delicate readings, she perfectly captures the essence of these compositions, painting a misty portrait of the personal experiences of the composers, transposed into musical form on the staff.
For her second album with Cypres, Laurence Mekhitarian has devised a programme combining the music of Robert Schumann with that of Gyorgy Kurtag, as it seemed obvious to her that their worlds share a profound emotional kinship. Certain works by Kurtag, such as the Trio Hommage a R. Sch. And Quasi una fantasia, bear direct witness to this. Alongside Schumann's Waldszenen, Laurence Mekhitarian has chosen to include three excerpts from Leos Janacek's cycle Sur un sentier recouvert and to play each of these pieces alternately with miniatures by Kurtag from his ten collections of Jatekok. The pianist has followed a free path here, guided by echoes, resonances, contrasts and sonic affinities. Kurtag has been part of her musical life for nearly forty years, both as a performer and a teacher. His high standards, his depth and his humanity have had a profound impact on her. In her view, he embodies a rare and essential way of being in the world through art. This programme has been constructed with curiosity and wonder, allowing the works to dialogue with each other. Kurtag's pieces - Fleurs, Objet trouve, Jeu avec l'infini - open up a sound space beyond the keyboard. They lead us to the Waldszenen, like a door to a world waiting to be explored. Each of Kurtag's miniatures is a tribute, a memory, a message. The journey ends with a transcription of a Largo by Johann Sebastian Bach, followed by a piece by Artur Avanesov (Modulatio, as a hidden track...).
Are 'hits' exclusively associated with modern pop music? Popular successes have roots much deeper in the history of music, spanning various genres and contexts, including music created and shared in private settings, such as homes, as well as in street performances. Certain compositions' extraordinary popularity is attested by widely distributed, copied, and repeatedly republished scores. The innumerable arrangements for other instruments also attest to the extent of the phenomenon. Following the success of their 2002 album Dvorak (LDV101), and once again in association with the Czech instrumental arranger Jiri Kabat, the Talich Quartet invites us to explore Mitteleuropa's folk repertoire. An invitation to dance. Irresistible!
Leos Janacek: The Makropulos Affair; The Diary of One Who Di
SOMM Recordings
CD
$37.99Nov 21, 2025
In November 2025, SOMM pays special tribute to the centenary of Sir Charles Mackerras (1925 - 2010) who was, amongst other stellar achievements, an outstanding interpreter of the music of Czech composer Leos Janacek (1854 - 1928). At the age of 25, and over the next six decades, Mackerras introduced generations of London opera-goers to Janacek's extraordinary masterpieces, and he was directly responsible for these works becoming established in the British operatic repertoire. Our centenary tribute features the release of a remastered broadcast, from 1964, of Mackerras's first London production of the opera The Makropulos Affair. Also included is Janacek's quasi-operatic song cycle, The Diary of One who Disappeared. Audio restoration is by Lani Spahr, whose previous restorations for SOMM of works by Elgar, Bruckner, Holst, and Bliss have recently received no less than three Gramophone Editor's Choices. Shortly after Mackerras arrived in the UK from Australia in 1947, a British Council Scholarship enabled him to study conducting with Vaclav Talich at the Prague Academy of Music, during which time he discovered Czech music and Janacek in particular. His breakthrough in introducing Janacek's unfamiliar music to British audiences came in February 1964, when he conducted The Makropulos Affair at Sadler's Wells. This release is an exciting, highly-charged souvenir of that first London production. The title of the opera, inspired by Karel Capek's 1922 play, refers to a century-old probate case, which holds the key to the formula for a life-extending elixir. The coolly enigmatic opera diva Emilia Marty shows great interest in the case, and is revealed to be Elina Makropulos, a woman from Crete, who has lived for 337 years. This recording features the Australian dramatic soprano Marie Collier, an outstanding exponent of the role. The vocal writing in the opera is predominantly conversational, underpinned by an orchestral score that is both uncompromisingly modern and evocative of ancient times. The lead characters in two of Janacek's operas Kata in Katya Kabanova and Emilia Marty in The Makropulos Affair were inspired by Kamila Stosslova with whom he fell deeply in love, despite their both being married and he being almost forty years her senior. The earliest work to be inspired by Kamila was The Diary of One who Disappeared, begun the month after Janacek met her in 1917. This unorthodox song cycle for tenor, contralto, female voices, and piano was inspired by a diary-in-poems about a village boy who falls in love with the gipsy girl Žofka. Janacek wrote to Kamila, "All through the work I thought of you! You were my Žofka." This 1956 recording features Bernard Keeffe's English translation with Richard Lewis, tenor, Maureen Forrester, contralto, women from the BBC Singers, and pianist Ernest Lush.
Jeji pastorkyna (Her Stepdaughter; commonly known as Jenufa) is an opera in three acts by Leos Janacek to a Czech libretto by the composer, based on the play Jeji pastorkyna by Gabriela Preissova. Jenufa is based on a play by the Czech writer Gabriela Preissova´. Set a Moravian village, it follows the travails of two half-brothers, steva and Laca, and the woman with whom they are both in love, Jenufa. Jenufa loves steva in return, and is secretly pregnant with his child. But, after the jealous Laca slashes her face, steva abandons her, repelled by the disfigurement. Things only get worse for Jenufa in the second act. Laca, who now hopes to marry her instead, finds out about the child and is furious. In a desperate attempt to help, Jenufa's stepmother kills the baby - but tells them both it died naturally. Her plan appears to work and the pair agree to marry, but the child's body is discovered, forcing Jenufa's stepmother to confess. The opera ends with a remarkable reconciliatory duet between Laca and Jenufa. Here Janacek's music gleams, luminous and hopeful after such sustained darkness.
As Janacek can be considered the most important Czech operatic composers of his time, Febel represents without doubt one of the most influential contemporary opera composers in the German-speaking countries. The fil rouge of this CD reveals itself in the mere choice of the pieces: all of them are compositions for piano and ensemble which try to construct the literal Hyperklavier Febel mentions in his title, a sound conglomerate that extends the semantic possibilities of a solo piano through the employment of different instruments. Many more, however, are the common points that bind the contemporary Febel to the historic Janacek. A further, more interesting parallelism, however, has to do with stylistic coordinates: as Janacek can be considered the most important Czech operatic composers of his time (we will just remember the titles Jenufa, Kata Kabanova and Vec Makropulos), Febel represents without doubt one of the most influential contemporary opera composers in the German-speaking countries. With performances at the Bayerische Staatsoper, Oper Bonn, Landestheater Linz (among others), he has confronted himself with the most various themes and figures, so for example Euridice, Frida (Kahlo) and Benjamin Button. This interest in opera could be a subterrain reason for their similar rethinking of piano solo with instrumental ensemble: by avoiding the classical, dualistic "question-answer" rhetoric, they are able to carve an all-round figure - in other words a character - out of the piano. Through a particular employment of the ensemble, the keyboard gathers a new three-dimensional plasticity, like a singer immersed in a scenography and illuminated by multicoloured reflectors.
Karel Ancerl was one of the most tragic Conductors of the Twentieth century: he survived the Extermination Camps, in which he lost his wife and children. After the war, with Vaclav Talich, he was certainly the greatest Bohemian Conductor. Known above all for his recordings of Smetana and Dvorak, he stood out for his interpretations (early 1960s) of the great European repertoire of the 19th century. This double CD testifies to his approach to three very different, and significant, composers such as Mahler, Sibelius and Janacek. High quality Studio recordings.
The youngest musician ever to win the International Tchaikovsky Competition Cello Division, exciting American cellist Zlatomir Fung has collated an album of opera fantasies including Fantasy on Jenufa which he arranged himself and a Fantasy written especially for him - Fantasia Carmen - by composer Marshall Estrin. After extensive research Fung found these fantasies for cello used recognizable tunes from famous operas to create a free medley and that there are few rules beyond the pure expression of the composer's personality, interests, and strengths as a cellist. But it's more unconventional elements reimagine the notion of the fantasy itself, proving that the genre's possibilities are far from exhausted-and, indeed, may only be in their infancy. After his Tchaikovsky competition win, Fung has garnered accolades, critical acclaim and standing ovations at performances around the world, more and more widely recognized as one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 25-year-old has already proven himself a star among the next generation of world-class musicians.
Artemis Quartett - The Complete Recordings 1996-2018
WARNER CLASSICS
CD
$100.08Aug 09, 2024
Intense, passionate, and impeccable in its musical disciplines, the Berlin-based Artemis Quartet "consistently finds a balance between projecting musical structure and conveying immediacy." Confirming that verdict from the New York Times is this 23CD collection, encompassing all the recordings the ensemble made between 1996 and 2018.
The Artemis Quartet began life in 1989 and developed a particular reputation in the central Austro-German repertoire. If Beethoven justly asserts a powerful presence, the scope of this collection extends as far as Eastern Europe and South America and well into the 20th century. Over the period of nearly a quarter of a century documented in this box, there were changes in the Artemis Quartet's lineup, but as founding cellist Eckart Runge explains, this "brought new inspiration - an opportunity to broaden horizons and introduce fresh ideas."
The ensemble suffered a tragic loss with the untimely death of violist Friedemann Weigle in 2015. Just days earlier, the Artemis had completed a recording of Dvořák's lyrical and poignant 'American' Quartet; it is now released for the very first time. This landmark box is completed by a comprehensive booklet which includes reminiscences from members of the Artemis Quartet and from sound engineers who collaborated with them.
As 1st prize winner of the 2022 ARD Music Competition, the Barbican Quartet is one of the most sought-after young string quartet formations. The internationally composed ensemble is now releasing it's debut album on GENUIN: "Manifesto on Love", with works by Leos Janacek and Robert Schumann. The contrast between Schumann's expansive musical lines and Janacek's nervous surfaces and ecstatic outbursts could not be greater - yet the Barbican Quartet unites them as expressions of human need for love, for togetherness. Two works of the most intimate musical genre played at a phenomenal level!
"Keywords," the title of this two-part concept album, cleverly plays with the English word "key," which carries a dual meaning, referring to both the piano key and the key itself. With one exception, the album features pivotal words from piano music of the 20th and 21st centuries, curated in a highly personal selection, including some premier recordings. The intention is to delve into a fundamental question of musical interpretation and composition: "how to address people with music." This doesn't imply the notion of making music verbally communicate. Instead, the pieces themselves are "speaking" works – piano compositions containing explicit or hidden messages, referencing poetry, incorporating language, words, or syllables, engaging in dialogues, resembling diary entries, or narrating entire stories. Moreover, the piano itself takes on various "voices" – whispering, stuttering, calling, hesitating.
Cellist Jir?i´ Ba´rta and pianist Terezie Fialova´ dedicate their new album to the legacy of Leos? Jana´c?ek. The album features three pieces written originally for violin and piano: the well-known Sonata that had been, nonetheless, neglected at the time of it's origin, Dumka, and Romance. The violin parts of the three compositions have been arranged for the cello by Jir?i´ Ba´rta and are released in a world premiere in this form. Jana´c?ek composed Dumka and Romance during his studies in Leipzig, an unhappy period when he tortured himself with doubts about his talent. They both show traces of classicist and romantic style and Barta ´s cello recording even more pronounces the wistfully elegiac disposition of the piece. Cello adaptation of the Sonata is based on Janacek ´s version from 1922, retaining the key and the having piano part unaltered, while the violin part has mostly been transposed an octave lower. The album also also includes the only two compositions by Jana´c?ek intended for cello and piano, Poha´dka (Fairy Tale), with a fourth movement that had been part of one of the working versions of the work but discarded later by Jana´c?ek, and the short Presto, originally probably intended as one the movements for Poha´dka - which also went through diverse stages of germination just as Sonata did, and it's last version was published in 1924. Inspiration by the tragic story of the Tale of Tsar Berendey and his child reflects Jana´c?ek ´s own experience. "Like most of Jana´c?ek's chamber works, Poha´dka provides a fascinating insight into the composer's soul," says Jir?i´ Ba´rta and describes his memories of his first encounter of Janacek ´s music: "I'm listening to the strangely beautiful music, so different from anything I'd have encountered as a child. Harrowing, yet tender, sad, but in a different way, moving, yet devoid of whining and false tears. (...)In his almost despondent genuineness, he will not forgive any mannerism or insincerity, making it hard for the performer to decipher him. Even at moments of greatest anguish, he is faithful to the principles of beauty and truth." The catalogue of Animal Music features as well a recording of the two artists' performance of Beethoven's Sonatas for piano and cello (2021), and Jir?i´ Ba´rta's solo recording of complete Bach's cello suites (2018).
Cellist Jiri Barta and pianist Terezie Fialova dedicate their new album to the legacy of Leos Janacek. The album features three pieces written originally for violin and piano: the well-known Sonata that had been, nonetheless, neglected at the time of it's origin, Dumka, and Romance. The violin parts of the three compositions have been arranged for the cello by Jiri Barta and are released in a world premiere in this form. Janacek composed Dumka and Romance during his studies in Leipzig, an unhappy period when he tortured himself with doubts about his talent. They both show traces of classicist and romantic style and Barta ´s cello recording even more pronounces the wistfully elegiac disposition of the piece. Cello adaptation of the Sonata is based on Janacek ´s version from 1922, retaining the key and the having piano part unaltered, while the violin part has mostly been transposed an octave lower. The album also also includes the only two compositions by Janacek intended for cello and piano, Pohadka (Fairy Tale), with a fourth movement that had been part of one of the working versions of the work but discarded later by Janacek, and the short Presto, originally probably intended as one the movements for Pohadka - which also went through diverse stages of germination just as Sonata did, and it's last version was published in 1924. Inspiration by the tragic story of the Tale of Tsar Berendey and his child reflects Janacek ´s own experience. "Like most of Janacek's chamber works, Pohadka provides a fascinating insight into the composer's soul," says Jiri Barta and describes his memories of his first encounter of Janacek ´s music: "I'm listening to the strangely beautiful music, so different from anything I'd have encountered as a child. Harrowing, yet tender, sad, but in a different way, moving, yet devoid of whining and false tears. (...)In his almost despondent genuineness, he will not forgive any mannerism or insincerity, making it hard for the performer to decipher him. Even at moments of greatest anguish, he is faithful to the principles of beauty and truth." The catalogue of Animal Music features as well a recording of the two artists' performance of Beethoven's Sonatas for piano and cello (2021), and Jiri Barta's solo recording of complete Bach's cello suites (2018).
Debussy, Janáček, Schulhoff et al: Traum und Trauma - Violin Sonatas / Starkloff, Nini
Genuin
CD
$20.99May 17, 2024
Experience a captivating juxtaposition of four distinct and mesmerizing compositions spanning a mere decade on the GENUIN CD recorded by violinist Friederike Starkloff and pianist Endri Nini. The duo has compiled works from 1913 to 1923 by Erwin Schulhoff, Claude Debussy, George Antheil, and Leoš Janácek — echoes of an era characterized by tumultuous innovation and pioneering spirit where artists across all genres laid the foundations for modernity. Starkloff, who embarked on her career as the youngest first concertmaster of a German radio orchestra, and Nini, esteemed internationally as a chamber musician, breathe life into these extraordinary, kaleidoscopic compositions with unparalleled intensity and technical mastery.
Sir András Schiff (born 21 December 1953) is a Hungarian-born British classical pianist and conductor, who has received numerous major awards and honors, including the Grammy Award, Gramophone Award, Mozart Medal, and Royal Academy of Music Bach Prize, and was appointed Knight Bachelor in the 2014 Queen's Birthday Honors for services to music. He is one of the most appreciated and distinguished pianists in the world. Magically, he brings life into pieces, makes them breathing and swinging and keeps up almost forgotten ideals of piano playing. He is not only a great pianist, but also a professional whose view is not limited on piano music, but who has wide knowledge of the broad field of macro culture. This enables him to play the piano which always makes sense to his own point of view. This extensive concert recordings for fans and collectors includes Schiff's Interpretation of Bartok's Piano Concertos, Schubert's Piano Trios and Bach's Goldberg Variations among others. András Schiff is particularly appreciated for his Janáček and Schubert interpretations, which are included in this collection. The edition makes rare classical archive footage from the years 1989-2008 available on Blu-ray Disc.
Global cello sensation Hauser is back with Classic II, an all-new selection of his favorites among the most beautiful melodies in classical music, following up on the success of his 2020 album Classic. - For Classic II, Hauser reunites with the London Symphony Orchestra, conducted by Robert Ziegler, and arranger/orchestrator Robin Smith, with whom the cellist worked closely in featuring the cello in the arrangement of each track. - Classic II reimagines instantly recognizable, song-like melodies by Bach, Beethoven, Brahms, Chopin, Donizetti, Dvorak, Mahler, Mozart, Rachmaninoff and Schubert, most of them written for solo instruments, voices or an entire orchestra and never before adapted for the "voice" of the cello. Hauser also brings his singing style to two beloved melodies in the Baroque style - the Albinoni "Adagio" and the Adagio from Alessandro Marcello's famous Oboe Concerto - as well as a pair of contemporary pieces, Michel Colombier's "Emmanuel" and composer/pianist Yurima's "Kiss the Rain."
Leif Ove Andsnes - The Warner Classics Edition 1990-2010
WARNER CLASSICS
CD
$98.12Apr 12, 2024
Leif Ove Andsnes is a leading pianist of his time, known for his exceptional musicianship and subtil touch, his considerable technical flair being unfailingly put at the service of his interpretations. He was a pioneer for being the first home-trained superstar pianist to have emerged from Norway. This box is the story of a 20-year partnership that has yielded a rich seam of recorded treasures, first for Virgin and then for EMI. Running through this cornucopia of 34 albums (36 CDs), we find recurring themes: Grieg (Andsnes even recorded some Lyric Pieces on the composer's own piano at Troldhaugen), Nordic music in general, Schumann, Rachmaninov, Schubert.
Brahms, Janacek, Beethoven, Lutoslawski & Schumann: In Memor
Haenssler Classic
CD
$32.99Mar 01, 2024
Vol. 2 of the portrait of the exceptional cellist who died far too young. Francoise Groben's fascinating dedication to music, her large number of international concerts and her encounters with the most prominent artists of her time - that is what this collection shows par excellence.
"Keywords", the title of this two-part concept album, uses the English word "key" ambiguously: it stands for both the piano key and the key. With one exception, the album contains key words from piano music of the 20th and 21st centuries, in a very personal selection with some first recordings. They aim to explore a fundamental question of musical interpretation and composition, "how to address people with music." This does not mean the idea of somehow making music speak. Rather, they are themselves "speaking" works, i.e. piano music that contains explicit or hidden messages, refers to poems, incorporates language, words or syllables, conducts dialogues and dialogues, can be read as a diary or tells entire stories. And it is also the piano itself that appears in "voices" - whispering, stuttering, calling, hesitating. Lotte Thaler
