Liszt’s sonata is regarded by many as his ultimate masterpiece and it ranks alongside other “greats” in the pantheon of piano repertoire. This was not always the case, however, and in the 19th century it was met with extreme reactions, from admiration to suspicion and envy. The critic Eduard Hanslick declared “Anyone who has heard this and finds it beautiful is beyond help”, while Wagner heaped praised upon it (perhaps unsurprisingly). Alfred Brendel has called it “the most original, powerful and intelligent sonata composed after Beethoven and Schubert”.

Mystical and stirring, dreamy and comforting. This album tells every story a fairytale can tell. Enjoy the music of this very first CD by Andreas Hering and Mathias Johansen together.

Daniil Trifonov pays homage to music created during a pivotal period in Russian history. Daniil Trifonov’s new album, Silver Age , recorded with Valery Gergiev and the Mariinsky Orchestra, recalls a time when Russia’s composers, poets, artists, dramatists and star performers were among the most original anywhere in the world. It illustrates the artistic audacity and brilliance of a turbulent era in the country’s history with works by three of its most pioneering composers: Scriabin’s Concerto for Piano and Orchestra in F sharp minor Op.20, Prokofiev’s Piano Concerto No.2 in G minor Op.16 and Stravinsky’s Three Movements from Petrushka . The tracklist also comprises Stravinsky’s Serenade and excerpts from the composer’s piano suite version of The Firebird , together with Prokofiev’s Sarcasmes Op.17, Piano Sonata No.8 in B flat major Op.84 and the “Gavotte” from Cinderella Op.95 No.2.

Sophie Dervaux’s debut album on Berlin Classics is very much in the French tradition. Together with her French colleague, pianist Sélim Mazari, the bassoonist presents works on this concept album Impressions that are by composers of various eras, including Debussy, Saint-Saëns, Ravel, Fauré and Koechlin. The bassoon – unusually – takes the stage as a soloist and so fulfils the purpose that the Vienna Phil bassoonist had in mind: to present the unique singing sound of the instrument and enrich the world of the bassoon in the process.

Large industrial complexes, built of solid brick tell the story of industrialization of 19th century Leipzig. Where spinning wheels once rattled, chimneys smoked and thousands of workers carried out their daily work, new life has moved in over the past few years. Today, former factories are home to artists' studios, galleries and manufactories.

Schubert moved to Vienna in early 1817, which was the center of musical activities in Europe at that time. Schubert focused strongly upon composing piano sonatas, and the result was these four superb works. Korean-born pianist Sookkyung Cho brings these sonatas truly to life. Noted for her "sensitive and imaginative" (New York Concert Review) playing, Sookkyung Cho has been captivating worldwide audiences with her personal, thoughtful expressionist style. She has appeared in venues such as Alice Tully Hall at Lincoln Center, Weill Recital Hall at Carnegie Hall, Chicago Cultural Center, Sarasota Opera House, Baltimore Museum of Art, Montreal Conservatory, Beaux concerts de la releve in Quebec, Château de Fontainebleau in France, and Zijingang Theater at Zhejiang University in China, among others, and was recently heard on Chicago's WFMT.

Though the members of the Eroica Quartet, formed in 1993, belong to various period-instrument groups in their native England, they have developed their own brand of performance practice: they play on gut strings, with sparing vibrato, but at normal pitch; the cellist uses an end-pin; the others use chin rests and shoulder pads. Moreover, instead of researching manuscripts and ur-texts, they consult early editions prepared by musicians active during the composers' lifetime, such as Mendelssohn's friend and adviser, the violinist Ferdinand David. Using his bowings and fingerings may give their performances "authenticity," but it is questionable whether the resulting innumerable slides and accents, which we have since learned how to avoid, are not ultimately to the detriment of the music.

Robert Schumann wrote some of the greatest works ever written for piano, four hands. Martha Fischer and Bill Lutes turn in beautiful performances of this great music.

For more than four decades now, Eric Hoeprich has specialized in performing on the historical clarinet. His expertise as a musician, scholar and instrument maker allows for a unique approach to the repertoire of the 18th and 19th centuries. Founding member and principal clarinet of the Orchestra of the Eighteenth Century, Hoeprich has performed frequently as a soloist with the orchestra, with his recording of Mozart’s Clarinet Concerto for Glossa, under the direction of Frans Brüggen (2001), being a major milestone. With his ensembles Nachtmusique and Stadler Trio he has also made frequent recordings for Glossa, while his collaborations with the London Haydn Quartet have yielded another handful of fine albums for the label, the latest of which, published just a few months ago in 2020, contains two Weber Clarinet Quintets and is a perfect companion for the current release.

When a composer is also a virtuoso player of a certain instrument, rather unavoidably his or her output mirrors such a predilection. It normally translates in a high number of works written for that instrument, in a pronounced capability to write idiomatically for that instrument, and frequently in experimental innovations and explorations.Many of these traits apply to Camille Saint-Saëns’ relationship zwith the organ, though not all of them. Saint-Saëns was one of the most prodigious child prodigies of all times in the musical field. He received his first music lessons from his aunt when he was not yet three years old, and is credited to have composed his first piano piece just one year later. By the time he was eleven, he debuted triumphally at the Salle Pleyel in Paris, performing two piano Concertos (one by Mozart and one by Beethoven), a work by Johann Sebastian Bach, and allegedly offering to the audience the possibility to choose any one of Beethoven’s 32 Sonatas as an encore!

Perfectly judged performances, intelligently planned recitals, informative booklet notes and, throughout, accompaniments from a true master of the art: this final release in the songs of Brahms epitomizes all the familiar virtues which have distinguished the series.

Paavo Järvi, Principal Conductor and Music Director of the Tonhalle-Orchester Zürich since October 2019, launches a complete recording of Tchaikovsky’s symphonies, the first in both his rich discography and that of the Swiss orchestra.
Jarvi writes: ‘When I think of the Fifth Symphony, I think of vulnerability and hope. It looks directly into our soul. It is perhaps the finest of his symphonies. The famous horn solo moves me and enriches me every time I hear it . . . Unlike the Sixth, the Fifth still holds out hope for life.’

Principal Conductor and Music Director of the Tonhalle-Orchester Zürich since October 2019, Paavo Järvi continues his complete cycle of Tchaikovsky’s symphonies, following a first volume devoted to Symphony no.5 and the symphonic poem Francesca da Rimini . This second volume features Symphonies nos. 2 and 4. The Fourth, composed in 1878 and nicknamed the ‘Fate’ Symphony because of its sombre colouring, which may recall the neuroses attributed to Tchaikovsky, is one of his most frequently performed. The Second Symphony, composed in 1872 and much less frequently performed in concert, is known as the ‘Little Russian’ because Tchaikovsky drew on Ukrainian folk tunes. The very first movement begins with a solo horn version of the folksong ‘Down by Mother Volga’…

This is the second volume in the Mandelring Quartet's series of Audite recordings of the string quartets of Brahms coupled with string quartets of his lesser known contemporaries. The earlier volume coupled Brahms' C minor quartet with Friedrich Gernsheim's A minor quartet, the later volume coupled Brahms' A minor quartet with Felix Otto Dessoff's F major quartet, and this volume joins Brahms' B flat major quartet with Heinrich von Herzogenberg's G minor quartet.

The heady, youthful tenor of Robin Tritschler is our guide through more of those musical riches which constitute Brahms’s complete song output. Volume 9 is a rewarding journey spanning more than three decades of the composer’s creative life.