Zhang Ymou

Winner of the 2009 Van Cliburn competition, Haochen Zhang is no stranger to a challenge. On this début concerto disc he proves this once more, boldly jumping in at the deep end as he takes on Sergei Prokofiev’s Piano Concerto No. 2. The demands posed by Prokofiev’s concerto are famous, starting with a huge cadenza already in the first movement. This may explain why the concerto was for a long time relatively unknown and, … Read moreunlike the First and Third Piano Concertos, has only recently taken its rightful place in the repertory.

Following on from Haiou Zhang's critically acclaimed releases Mozart: Piano Concertos Nos. 20 & 21 (hänssler CLASSIC, 2016) and Liszt: Piano Works (hänssler CLASSIC, 2011) the internationally renowned Chinese pianist presents a disc of his favourite works by composers that continue to inspire him.

Innovative string trio Time For Three (TF3) – praised by Simon Rattle as “benevolent monsters, monsters of ability and technique surely. But also conveyors of an infectious joy that I find both touching and moving”– releases the new album Letters for the Future with the Philadelphia Orchestra led by Xian Zhang on Deutsche Grammophon on June 10. The album comprises world premiere recordings of two technically demanding and musically virtuosic concerti for trio and orchestra by two Pulitzer Prize-winning composers, written fifteen years apart but both commissioned for the group: Jennifer Higdon’s 2007 Concerto 4–3 and Kevin Puts’s brand-new Contact, the first track of which is available May 20.

The Transcendental Études form a cycle of twelve pieces whose composition began in 1826 and was completed in 1851. Starting from the idea of an encyclopædic collection which, in the manner of Johann Sebastian Bach’s Well-Tempered Clavier, Liszt’s Transcendental Études became something of a seismograph of his compositional aesthetic, first strongly under the influence of Paganini, later more in the style of character pieces.

As one of the finest pianists of his era and an improviser of genius, Ludwig van Beethoven's preferred vehicle for musical exploration was the piano. With his five piano concertos composed between 1788 and 1809, he not only achieved a brilliant conclusion to the Classical piano concerto, but also established a new model for the Romantic era: a sort of symphony with obbligato piano which was to remain a reference point well into the twentieth century. After the first two concertos, which still closely follow the models of Haydn and Mozart, Concerto No. 3 marks a profound stylistic change. In the piano part, Beethoven pushes the instrument to it's limits, leading commentators to remark that he was writing for the piano of the future.

“Our countries have moved further apart. Most people are so immersed in their own life experience that they don’t even try to understand the culture of other societies … but by comparing these two works people can see the double picture – how Europeans feel about love, pleasure, and death, and how the Chinese feel about the same things.” Long Yu. Centuries-old Chinese poetry is brought vividly to life in a new recording from Long Yu and the Shanghai Symphony Orchestra. Their second album for Deutsche Grammophon, The Song of the Earth, is set for international release on 13 August 2021. The world premiere recording of the contemporary The Song of the Earth by Ye Xiaogang is presented alongside Gustav Mahler’s classic symphony. Ye’s ambitious new work expresses the grandeur and beauty of the original Tang Dynasty poems that Mahler set in German translation, fusing a contemporary style with centuries’ worth of traditions from both east and west. Long Yu, who commissioned Ye’s work, conducts the Shanghai Symphony Orchestra in this fascinating meeting of histories and cultures.