Piano Concerto No. 4, Sonates


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Piano Concerto No. 4 in G major - Allegro moderato
Piano Concerto No. 4 in G major - Andante con moto
Piano Concerto No. 4 in G major - Rondo ? Vivace
Piano Concerto No. 4 in G major - Applause
Piano Sonata No. 14 in C-sharp minor, op. 27, No. 2 - Adagio sostenuto
Piano Sonata No. 14 in C-sharp minor, op. 27, No. 2 - Allegretto
Piano Sonata No. 14 in C-sharp minor, op. 27, No. 2 - Presto agitato
Piano Sonata No. 31 in A-flat major - Moderato cantabile, molto espressivo
Piano Sonata No. 31 in A-flat major - Allegro molto
Piano Sonata No. 31 in A-flat major - Adagio ma non troppo


In purely musical terms, this ‘outcome’, with the Australian Chamber Orchestra directed by Richard Tognetti, is a mixed form or combination, in which the well-known version for piano and (symphony) orchestra, performed as usual with a conductor, is brought together with the newly discovered chamber version for piano and string quintet. … In Beethoven’s time it was customary that the soloist, who was often a composer as well, improvised the cadenzas. Beethoven personally challenged the young Franz Liszt not only to compose more, but also generally to improvise more at the cadenzas. I have therefore taken the liberty of writing my own cadenzas for the first and last movements. … In both sonatas, Beethoven writes the menuetto/scherzo as second movement, instead of as third as was customary. Generally speaking, the term romantic irony links the two sonatas to the piano concerto. Around 1800, Friedrich Schlegel had already formulated his concept of romantic irony, and Ludwig van Tieck employed it slightly later in his literary comedies. From: liner notes by Dejan Lazic

Additional information


Mastering equipment

B&W 803 diamond series


Audiolab, Holland

Recording software

Pyramix bij Merging

Recording location

Sydney Australia, Eindhoven Holland 2011

Recording engineer

Jared Sacks


Jared Sacks

Mixing board

Rens Heijnis custom design


Bruel & Kjaer, Schoeps

Mastering engineer

Jared Sacks


Digital converters

Grimm A/D DSD / Meitner DA


van den Hul


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Recording type bit rate


Press reviews

The Guardian

Lazic will doubtless add to his reputation for erratic brilliance with this recording (…) the slow movement is tremendous in its drama and exaltation (…) His Moonlight Sonata is clean, austere and breathtakingly beautiful.

Klassieke Zaken

Zijn interpretaties zijn vaak krachtig en fris en achter zijn spel zit een enorme drive, net niet over de top: buitengewoon spannend. (…) pianist en orkest vullen elkaar voortreffelijk aan. (…)


buitengewoon boeiend (…) de samenwerking met het orkest is uitzonderlijk goed (…) een wondermooie, zeer natuurlijke opname.


Dejan Lazic gooit hier bijzonder hoge ogen met een werk dat hem werkelijk op het lijf geschreven is en dat hij hier neerzet als een lyrisch omzoomd dartel drama (…)

International Pianoworld

A thought-provoking release by a talented young pianist.


Was er anpackt, hält die Hörer gebannt. Überwältigend lebendig, mit feinsten Nuancen und eigenen Kadenzen hat Dejan Lazi? Beethovens G-Dur-Konzert sozusagen neu erfunden, kongenial begleitet vom Australian Chamber Orchestra unter Richard Tognetti.

Deutschlandradio Kultur

Es müssen ja nicht gleich derart kuriose und übersteigerte Vergleiche sein wie “nuancenreicher, exquisiter Rotwein” oder “noch nie Dagewesenes”, mit denen einige Kritiker ihrer Begeisterung über Dejan Lazi?’s pianistische Fähigkeiten allen Nachdruck verleihen. Aber Tatsache ist, dass eine so fantastische Klangkultur, Virtuosität und Ausdruckskraft, wie er sie zeigt, ganz aktuell in seiner Beethoven-Einspielung, gerade in der jüngeren Pianistengeneration lange nicht hörbar waren.


Er hat ein Faible für das Außergewöhnliche: der kroatische Pianist Dejan Lazi? spielt Beethovens 4. Klavierkonzert einmal anders – inspiriert von einer neu entdeckten Kammermusikversion. Aber nicht, um aus der Masse der vielen Aufnahmen herauszuragen (das tut er sowieso auch), sondern weil da ein Beethoven drinsteckt, der anders klingt: direkter, spannender, energiegeladener.


Beethoven selbst regte eine ganze Reihe an Änderungen an, vor allem beim Solopart der Ecksätze. Tatsächlich ist der virtuose Anspruch leicht gesteigert, doch Lazic hält sich zurück und konzentriert sich auf die flexibler gewordenen Tempi. Ritardandi etwa, die der Komponist nachträglich einfügte und die den Blick nach innen noch einmal betonen. Das hierzulande wenig bekannte Australian Chamber Orchestra reagiert seismographisch genau auf den Solisten am Steinway – auch deshalb sorgt dieses Experiment für Vergnügen.


een flexibele, zeer pittige en toch transparante uitvoering onder leiding van Richard Tognetti (…) Beethoven’s cadensen verving Lazic door eigen improvisaties, die bruisen van bravoure à la Liszt.

Audiophile Audition

His transition among the many tempo and section divisions is not only apt and natural, but explanatory as well, and this reading is easily one of the best I have ever heard. (…) the music flows from his fingers (…) he is a thinker as well as an emotive pianist. (…) Channel’s surround sound, as usual, is spectacular.


His no-nonsense way, the slender and quasi – athletic approach revitalizes this often bogged-down concerto. He has even composed his own cadenzas (…)


Lazic laat horen een groot vertolker van Beethoven te zijn en ja, de opname is als we gewend zijn van Channel’s Jared Sacks: subliem!


Dejan Lazic: een pianist met lef!


There is something very vibrant about his interpretation that brings a sense of immediacy, even to the loudest passages. Lazic does more composing, arranging and improvising than most concert pianists, and perhaps these activities contribute to the playfulness and carefree approach that he brings to Beethoven. (…) The fact that Lazic can find such elegant and understated sounds from instruments otherwise known for the weight and projection of their tone is a testament indeed to his phenomenal and unique talent.

Classics Today

his technique is amazing, and quite beautiful. The first movement of the “Moonlight” sonata is exquisite: by keeping the melody at the same dynamic as the accompaniment Lazic creates an extraordinary level of poetic intensity. (…) As usual from this label, the sonics are absolutely top-notch, whether in regular stereo or SACD-surround formats, and there’s no need to make allowances for the concerto’s live provenance. It is a remarkable performance in the sense of being a completely thought-out collaboration between soloist and orchestra (…).


The orchestral playing is glorious – full of character (…) And Lazic is a classy artist, with a fine range of colour, taut trills and immaculate fingerwork. (…)

International Record Review

Dejan Lazic, Richard Tognetti and the Australian Chamber Orchestra (…) are thouroughly convinced by what they are doing. (…) the orchestra, with strings using minimal vibrato, plays extremingly stylishly. (…) there are plenty of surprises in this performance.


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