Vittorio Bresciani Liszt Schubert Song Transcriptions

Tamayo Ikeda was born in Japan in 1971, and began playing piano aged three. She joined the Toho Gakuen institute 1986 and to completed her studies in France at the Conservatoire National Supérieur in Paris, where she studied with Jacques Rouvier and chamber music with Régis Pasquier. She was awarded two first prizes before joining the class of Pascal Devoyon.

Vladimir Sofronitsky was among the greatest Russian pianists of the twentieth century, and, while he had become a somewhat less prominent figure following his death, he must be still considered in the company of Richter, Gilels, and Yudina. In his time, Sofronitsky became widely recognized as the leading interpreter of and authority on the music of Scriabin in Eastern Europe. He was also highly praised for his interpretations of the piano works of Robert Schumann and he was a highly respected teacher.

Decca’s first FFRR concerto recording available for the first time: Eileen Joyce / Tchaikovsky 2nd Piano Concerto – never released on 78rpm and long thought lost, the test pressings were recently found at the International Piano Archives in Maryland.

Following young pianist Leonie Karatas’ debut CD "La Vita", her second album “Suspense” is dedicated to the great composers of the Romantic period: Franz Schubert and Franz Liszt. Schubert's last piano sonata is considered to have paved the way to the High Romantic full stop, and in combination with Liszt's most important piano sonata as the virtuoso climax of the Romantic piano literature, this piano concerto offers a musical treat.

The West-Eastern Divan Orchestra, a symbol of tolerance and understanding between people, opens with Jörg Widman’s Con brio and are then joined by the legendary Martha Argerich for Franz Liszt’s Piano Concerto No. 1. The extraordinary concert is completed with popular excerpts from Wagner’s Tannhäuser, Meistersinger and Ring der Nibelungen.

Cellist Steven Isserlis and pianist Denes Várjon are known as instrumentalists for connoisseurs, delving deep into the structures of work and programming them in intelligent ways. You wouldn't pick Isserlis as a Chopin specialist, and Chopin wrote very little chamber music anyway. But he and Várjon deliver a gripping performance of the Chopin Cello Sonata in G minor, Op. 65, a notoriously troublesome work whose text is far from fixed. They play the first movement Maestoso, as it is marked in some sources, and they present a vision of the sonata as a work of great seriousness, complexity, and ambition.