edna stern recordingss

Note on the recording process:

A lot can be written over the quest after “perfection.” My favorite recordings belong to that time when editing was complicated and used very lightly.

I believe that todays’ massive use of editing in correcting each little mistake and imperfection, or by placing “magic moments” one after another, has done more to hinder music than to serve it.

As time goes by, I tend to use editing less and less in my recordings and prefer to use full takes for each movement, even if it means leaving some imperfections. I am convinced that the price of editing comes at the expense of the very life of the music and of the record. I hope that the next step will be for me to record in analog, to be continued!

Her next recording will be:

  • Johann Simon Mayr 2 Piano Concerti, recorded with the Georgian Chamber Orchestra of Ingolstadt and conductor Ruben Gazarian with label Ars Production

Records

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The Young Ludwig van Beethoven 3 Sonatas Op. 10: To be released by the label AudioNote Music in February 2020

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Fire of Black and White: To be released by the label AudioNote Music in February 2020

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Hélène de Montgeroult critic choice 2017Hélène de Montgeroult france musique

Hélène de Mongeroult: Recorded in 2017, Philharmonie de Paris, published by Orchid Classic

“Twelve beguiling studies, a fine “Thème varié dans le genre moderne” and a far from staid F minor fugue complete Stern’s revealing and affectionate recital, given on a silvery 1860 Pleyel.” Sunday Times February 5th 2017

“Edna Stern deserves the highest praise for resurrecting it, and has the fleet fingers and sensitive musicianship necessary to make the very best case for it.”Gramophone Magazine

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4 starts classica awards

Me-Su-Bach: Recorded in 2015, Théâtre Impérial de Compiègne, published by Orchid Classics

“[…] an unabashedly Romantic and ravishingly pianistic attitude to this composer that has long passed into history. Few modern pianists can pull off such an approach, but Stern’s sincerity, conviction, and masterful control of the concert grand was both disarming and mesmerizing.“ Jed Distler, Classics Today, October 26, 2015

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Top Monde 2014 awards

Beethoven Tempest: Recorded in 2014, Théâtre Impérial de Compiègne, published by Luna

“Edna Stern belongs to an age group where the audacity of youth establishes itself in a maturity, which does not yet pretend the wisdom of old-age. The result is a reading of Beethoven’s masterpieces which is both daring and authoritative, on a piano which is played not with one’s fingers but with one’s ears... Like the composer, the interpreter makes a strong point of cultivating subjectivity... Summing it all, a Beethoven authentically universal.” Le Monde, décembre 2014

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Top Monde 2014 awards

Beethoven Appassionata: Recorded in 2014, Théâtre Impérial de Compiègne, published by Luna

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Piano of Enlightenment: Recorded in 2013, Studio Ishtar, Milan, published by Air Note

“The pianist Edna Stern assembles Mozart, Galuppi, Haydn, C.P.E. Bach, composers of luminous sounds, in her interpretation emphasizing the play of shadow and light. The sound, all in lightness, draws one's attention particularly to the deep and transcendent aspect of the chosen pieces. How beautiful are those Galuppi sonatas, with their arpeggios running naturally under the fingers! The Variations Ah! Vous dirai-je maman, retain a childish hue in a playing full of elasticity. The subtle approach of Edna Stern, enlightens the rich and complex polyphony of J.S. Bach's Fantasy in C minor, and the two works by Haydn and C.P.E Bach's Fantasy complete this recording of impeccable elegance.” Péché Classique

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Top Monde 2010 awards

Mozart Concerti: Recorded in 2010, Opéra de Vichy, published by Zig-Zag Territoires Outhere

“Edna Stern’s playing is extraordinary in finesse and invention. The impression is that the pianist playing is not subjected to gravity.” Christoph Huss, classicstodayfrance.com, September 2010

“It is fascinating to hear Edna Stern’s perfect, mature and effortless technique, which she does not however use for the purpose of bragging, but puts discreetly at the service of music. She succeeds to the extent of completely disappearing behind the music... developing a whole unexpected wealth of nuances and a variety of tone colors.”

“...a spontaneous joyful playing with beauty and respect: my Mozart-Ideal through this CD has become much closer.” Attila Csampai, Bayrische Rundfunk, November 2010

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Chopin recital: Recorded in 2010, Philharmonie de Paris, published by Naïve

“The subtle chemistry of a successful Chopin. This CD has eclipsed all that we’ve heard so far in the commemoration of the bicentenary of Chopin’s birth.” Katchi Sinna, Muzikzen.fr, May 2010

“Edna Stern, an exquisite and subtle narrator, is far from any invading rhetoric conception, proposes more than imposes, suggests more than commands, and shows without showing off. Thus, she has made us entirely receptive, open to our own sensations, free to hear our own Chopin. A music beyond music.” Gérard Abrial, easyclassic.com, May 2010

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Diapason 5 awards

Chopin chamber music: Recorded in 2010, Ircam de Paris, published by Apart

“This tasteful alliance of sounds is at the base of a sensible and mysterious interpretation, which yet does not lessen the tensions and intensity that punctuates this crepuscular score [piano and cello sonata Chopin op 65]. ...though we appreciate even more the two Nocturnes that Edna Stern interprets alone, using all the expressivity of her piano: to hear the finest nuances, these half tainted phrasings, we understand why Chopin was particularly affectionate of the Pleyel.” Jérôme Bastianelli, Diapason, April 2010

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Diapasondor awards

Bach “Nun komm’ der Heiden Heiland”: Recorded in 2009, Studio Sequenza, published by Zig-Zag Territoires Outhere

Few modern pianists can pull off this approach, but Stern’s sincerity, conviction and masterful control of the instrument prove utterly disarming... Stern’s rubato in the E minor Fugue dismantles the work’s toccata-like drive, as if Pablo Casals’s cello bow was guiding her fingers... In short, a disc that will cause unrepentant pianophiles to jump for joy...”.” Jed Distler, Gramophone, July 2009

“...here are some of the techniques used by this formidably curious musician, to achieve a unique touch, the grace of which gives a re-introduction to these frequently played works.” Jérôme Bastianelli, Diapason, March 2009

“Edna Stern dares a very personal Bach, of a Romanism without false delicacy, generously enriched with pedal, highly studied but exempt from all narcissism.” Diapason, March 2009

“With Edna Stern we avoid the clichés. Her playing is neither romantic nor baroque. It takes on perfectly the serious tone of the composer without falling into coldness or rigidity. It is at the same time an instrumental revelation and a clear sign that music is indeed alive.” Mathias Heizmann, Arte, February 2009

“Edna Stern plays a few Preludes and Fugues, she adorns her musical itinerary with chorales, rendering an organic thought process of a rare intelligence.” Renaud Machart, Le Monde, January 30th 2009

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Diapason 5 awardsMondmus Awards

Schumann “Fantasy”: Recorded in 2007, Eglise du Temple, published by Zig-Zag Territoires Outhere

“Schumann’s Fantasy op. 17 is heard petrified by emotion. The pianist gives us here a rendering equal in inspiration with the greatest... Indisputably, Edna Stern is a great artist!” Alain Lompech, Diapason, February 2007

“The opening of the great Fantasy is not the usual call to arms but the cry of a heart stricken by separation, the ensuing mood swings vividly portrayed, and I never heard the middle movement better played... Stern has the qualities of a great artist: virtuosity, imagination and passion.” Joe Laredo, International Piano Magazine, UK, June 2007

“To summarize, here is a great disc from a great pianist, impressive in her mastery and musicality from beginning to end. We demand more!” Richard Holding, ResMusica.com, February 26th 2007

“Edna Stern gives us an inspired interpretation... She moves with ease and fluidity throughout Schumann’s scores and finds an exemplary balance between the planned structure and spontaneity. And what poetry in her atmospheres!” Jérémie Szpirglas, Le Monde de la Musique, March 2007

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Diapason Decouverte awardsR9 Classica Awards

Bach “Chaconne”: Recorded in 2005, Church of Boswill, Switzerland, published by Zig-Zag Territoires Outhere

“Here is one of the most fascinating piano CD’s in the last years.” Le Figaro, August 4th 2005

“Edna Stern expresses with great talent [the change from violin to the great piano of the XIXth Century] through her use of the pedal which bestows sensibility to this voyage of sounds, merging the melodic metamorphosis into a wonderful halo. Her work on sonority is just as eloquent, with, for instance, her crystalline tone preceding an ultimate and supernatural radiance.” Pierre Gervasoni, Le Monde, May 24th 2005

“There is rigour, but without a hint of coldness, but on the contrary, a large palette of colours and massive variety of tone. Allying poetry and splendorous tone colour, Edna Stern charms by efficient virtuosity without it being demonstrative (...) She is guiding us through an unreal world of contrasting emotions that we would never like to leave. Mastery, intelligence, engaged sound: all is here to keep us hanging on her every note. ... An excellent pianist, but above all a musician, Edna Stern has here won us completely, and we are looking forward to hearing her again.” Antoine Mignon, Classica-Répertoire, July 2005

“...her fantasy, panache and gusto light up the romantic lyricism and gothic passion Busoni’s score overflows with....In the rigorous arrangement of Brahms, the pianist avoids all dryness thanks to her polyphonic approach and the depth of her playing.” Jérôme Bastianelli, Diapason, July 2005

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Diapason 5 awardsR9 Classica Awards

C.P.E. Bach pianoforte and violin Sonatas: Recorded in 2005, Prague, published by Zig-Zag Territoires Outhere

“Both artists sing, as well with the bow as with the keyboard, and extract from these pages a plenitude of sounds, colours as well as quasi vocal lines that transcend the pieces. The pianoforte leads the way with a directive hand, answering with precision to the brilliant and musical violin, and takes over beautifully the sound space. A feat by these two musicians.” C.W. A Nous Paris