After a series of popular and award-winning recordings running over a wide range of the piano repertoire, Jean-Efflam Bavouzet is a well-known name in the piano lover’s world. But back in the 90’s, Bavouzet was just a name on a little known Japanese label specializing in piano music. The Études as presented here by Bavouzet are marvels of musical insight and control. The Children’s Corner is equally compelling. Also on this disc presented other Debussy’s works as Page d'album, Berceuse héroïque, La plus que lente, and Elégie. As with the Etudes, the recorded sound of the piano is miraculously good. The recording was made in 1996 but not released by the Japanese label, Octavia Records, until 2005. This perhaps explains its obscurity relative to Bavouzet’s more recent recordings of the same material.

Volume 8 of Jean-Efflam Bavouzet’s survey of Mozart’s piano concertos with Gábor Takács-Nagy and Manchester Camerata features two late concertos – Nos 26 and 27 – along with the overtures to Così fan tutte, Die Zauberflöte (The Magic Flute), and La clemenza di Tito. Concerto No. 26, the ‘Coronation’, was completed in 1788, premièred in Dresden, and then played at the coronation of Leopold II as Holy Roman Emperor, in Frankfurt, on 15 October 1790.

The three concertos featured on this album were composed together in 1782 / 83 – shortly after Mozart had left his patron and position in Salzburg to establish himself as a freelance composer and performer in Vienna. The concertos were all performed by the composer in a series of subscription concerts that he gave in the city. All share the same form – opening movement in sonata form, slow movement in ternary form, and a bright rondo finale.

Following his acclaimed recording of sonatas by contemporaries of Beethoven, Jean-Efflam Bavouzet further celebrates the great composer’s anniversary year with this set of the complete Piano Concertos.

Jean-Efflam Bavouzet performs all five of Prokofiev's formidable piano concertos in partnership with Gianandrea Noseda conducting the BBC Philharmonic.

Pierre Sancan was a tremendously influential figure in French musical life, as a composer, pianist, teacher, and conductor, but remains relatively unknown outside France. Born in Mazamet, in 1916 – the same year as Dutilleux – he received his early musical training in Morocco and, later, Toulouse. He entered the Paris Conservatoire in 1934 where he studied with Jean Gallon, conducting with Charles Munch and Roger Désormière, piano with Yves Nat, and composition with Henri Busser.

Following his acclaimed recording of solo sonatas by contemporaries of Beethoven, Jean-Efflam Bavouzet releases the complete Beethoven Piano Concertos as pianist and director with the Swedish Chamber Orchestra. Directing the Swedish Chamber Orchestra from the keyboard, Jean-Efflam writes: ​"For the pianist there is also the delight of appearing face to face with the entire orchestra, in direct visual communication, the musicians perhaps more likely to take personal initiatives, thus multiplying the pleasure of a genuine participation, dialogue, and musical exchange". The cadenzas used in this recording are all Beethoven’s, from the set that he wrote out in 1809, and so are contemporaneous with the Fifth Concerto. The recording includes the Quintet for Piano and Winds, Op. 16.

Jean-Efflam Bavouzet’s landmark series of Beethoven’s complete sonatas is now available as a box-set and at very special price. Bavouzet has taken this programme to the most prestigious venues around the world and continues to perform it. Gramophone has nominated him several times for its Artist of the Year award, arguing that ‘Bavouzet’s chronological journey through the Beethoven sonatas has not been surpassed in the last 30 years. Yes, it’s that good.’

The survey by Jean-Efflam Bavouzet of Haydn’s piano sonatas reaches its conclusion with this eleventh volume. As in previous releases, the acclaimed pianist has mixed repertoire from different periods of Haydn’s career to create a recital of interest in its own right. Jean-Efflam notes: ‘It has been eleven years since the launch of this project to present Haydn’s sonatas, not in their chronological order, but as collections juxtaposing works from different periods.

Following his acclaimed recording of Beethoven’s concertos with the Swedish Chamber Orchestra, Jean-Efflam Bavouzet returns to his exploration of Haydn’s sonatas, described by the magazine Gramophone as ‘a major modern recording landmark in the Haydn discography’.

Described by BBC Music Magazine as ‘Mozart music-making of altogether superior quality’, Jean-Efflam Bavouzet’s acclaimed Mozart Concertos series reaches Vol. 6. Along with Concerto No. 24, K. 491, the two concertos presented here were composed in Vienna in the winter of 1785 – 86, at a time when Mozart was working on Le nozze di Figaro. He was at the height of his fame as composer, virtuoso pianist, and teacher.

His multi-award-winning recordings and dazzling concert performances have long established Jean-Efflam Bavouzet as one of the most outstanding pianists of his generation. This latest album – the tenth – in his cycle of the complete Haydn sonatas is built around the Grand Sonata in C major (Hob. XVI: 50), a late work the first movement of which is one of the most highly developed that Haydn ever conceived for the keyboard.

After having won the Gramophone Award in 2014 for his recording of Prokofiev’s five piano concertos, exclusive Chandos artist Jean-Efflam Bavouzet here explores the complete works for piano and orchestra of another Russian composer of the twentieth century: Igor Stravinsky.

The exclusive Chandos artist Jean-Efflam Bavouzet is a master of this repertoire. This is his second concerto recording for the label, after his survey of the complete piano concertos by Bartók (CHAN 10610) which was released in September to high acclaim and voted ‘Orchestral Choice of the Month’ by the magazine BBC Music. Bavouzet’s complete recording of the piano music by Debussy also scooped awards from BBC Music and Gramophone, which wrote: ‘This could well be the finest and most challenging of all Debussy piano cycles.’