Marcel Poot (1901-1988), the son of Jan Poot, director of the Royal Flemish Theatre, grew up in an artistic milieu. He took his first music lessons with the organist Gerard Nauwelaerts and subsequently studied solfège, piano and harmony from 1916 to 1919 at the Royal Conservatory in Brussels with Arthur De Greef, José Sevenans and Martin Lunssens. His first prizes in counterpoint (1922) and fugue (1924) were earned at the Royal Conservatory in Antwerp with Lodewijk Mortelmans. He also studied composition and orchestration privately with Paul Gilson.

Together, Poot and Gilson published La Revue Musicale Belge, a periodical that appeared starting in 1925. In that same year, he and seven other of Gilson’s students set up the group known as Les Synthétistes, which aimed to create a synthesis of the achievements of current musical evolutions, without sacrificing their individuality. In 1930, he won the Rubens Prize, which allowed him to study for three years with Paul Dukas at the Ecole Normale de Musique in Paris.

Marcel Poot began his career at the State Secondary School in Vilvoorde and also taught piano, solfège and music history at the music academy in that city. He taught practical harmony (1939) and counterpoint (1940-1949) at the Royal Conservatory in Brussels before becoming director of that school (1949-1966). Besides this, he was a lecturer at the Institut Supérieur des Arts Décoratifs, headmaster of the Queen Elisabeth Music Chapel (1970-1976), a member of the Royal Flemish Academy for Sciences, Letters and Fine Arts, a jury member for the Queen Elisabeth Competition (1963-1981), chairman of SABAM (composers’ rights organisation), the Union of Belgian Composers and CISAC (the International Confederation of Societies of Authors and Composers), and he was a jury member for various composition competitions.

In the tradition of the great Romantic pianists, John Browning (1933-2003) earned a distinguished reputation for his exceptional interpretive gifts, technical mastery of keyboard color and sonority, and deep commitment to music. He was considered one of the most important and extraordinarily compelling virtuoso performers of his time. He was an American luminary of musical greatness, impressing audiences and critics with his passion, integrity, and probing musical imagination in an extensive repertoire that ranges from Bach and Scarlatti to 20th-century composers.
His highly acclaimed recordings, which garnered three Grammy nominations and two Grammy awards, along with a number of significant compositions that were written for and expressly dedicated to him by renowned composers, further illustrate the superlative breath of his artistic scope.

Since his triumphant debut in 1956 with the New York Philharmonic, John Browning appeared in virtually every music capital of the world, amassing accolades for his solo recitals, concerto appearances and recordings. He performed and recorded a broad spectrum of works spanning three centuries from Mozart to the grand virtuoso masterpieces of Beethoven, Brahms, Prokofiev, Rachmaninoff, Ravel and Tchaikovsky -- including 43 concertos. In addition to championing the works of Samuel Barber, with whom he had long been associated, he premiered and recorded works by the contemporary American composer, Richard Cumming.

John Browning concertized regularly in the United States, Canada, Europe, Japan, South America, New Zealand, and Australia, and toured the Soviet Union on four occasions. In North America, he appeared regularly with the symphonies of Boston, Chicago, Cleveland, Houston, Los Angeles, New Jersey, New York, Philadelphia, Pittsburgh, St. Louis, Toronto, and the National Symphony Orchestra in Washington, D.C. Performances abroad with European orchestras included the Royal Concertgebouw Orchestra of Amsterdam, London Philharmonic, London and Scottish National Symphony Orchestras, and most recently, the Royal Stockholm Philharmonic with Andrew Davis.

He collaborated with Leonard Slatkin at both the Wolf Trap and Blossom Music Festivals, Pinchas Zukerman at the Ravinia Festival, the Tokyo String Quartet at Lincoln Center's Mostly Mozart Festival, and Robert Spano and the Boston Symphony Orchestra at Tanglewood. He was also a favorite at other American music festivals and was frequently heard at the Hollywood Bowl, Caramoor International, Grant Park, Saratoga, Newport, Rockport, Seattle International, St. Charles Art & Music, Minnesota Orchestra Summerfest, and the Peninsula Music Festival.

Born in Denver, Colorado, in 1933 to a violinist father and a pianist mother, John Browning began piano studies at age five and gave his first public appearance as soloist with the Denver Symphony at age ten. He subsequently moved to New York City to pursue his musical studies on scholarship with Rosina Lhevinne at The Juilliard School. He rapidly gained prominence by winning the Steinway Centennial Award in 1954, the Leventritt Competition in 1955, and placing second the following year in the Queen Elisabeth Competition. Widespread attention continued when he made his professional orchestral debut in 1956 in a critically acclaimed performance with the New York Philharmonic and Dimitri Mitropoulos, which not only launched his career internationally, but also inspired Samuel Barber to write a piano concerto for him.

Six years later, in 1962, John Browning was chosen to give the world-premiere of Samuel Barber's Concerto for Piano and Orchestra with Erich Leinsdorf and the Boston Symphony at the inaugural celebration of New York's Lincoln Center for the Performing Arts. Written especially for John Browning, the piece was awarded a Pulitzer Prize and has since become the most frequently performed American piano concerto in the past half-century -- no other has been so firmly ensconced in the literature. He first recorded the work in 1964 with George Szell and the Cleveland Orchestra for the CBS Masterworks label. A new recording with Leonard Slatkin conducting the St. Louis Symphony was released in 1991 by BMG Classics/RCA Victor Red Seal. This earned him his first Grammy Award for "Best Instrumental Soloist With Orchestra" and a Grammy nomination for "Best Classical Album."

John Browning also recorded for MusicMasters, and a disc of the complete Barber solo piano repertoire, released in 1993, earned him a second Grammy Award for "Best Classical Instrumental Soloist Without Orchestra." Additional releases for that label included an all-Scarlatti disc in 1994, followed by a recording of two Mozart Concerti with the Orchestra of St. Luke's and Julius Rudel the next year, and a recording of the Brahms Piano Quintet and Horn Trio with John Browning and members of the St. Luke's Chamber Ensemble.

In 1994, Deutsche Grammophone released John Browning's recording of the complete Barber songs with soprano Cheryl Studer and baritone Thomas Hampson. A highly acclaimed recording of the Beethoven "Triple" Concerto with violinist Pinchas Zukerman, cellist Ralph Kirshbaum, and Christoph Eschenbach conducting the London Symphony Orchestra was released in 1998 by BMG Classics/RCA Victor Red Seal. Additional listings in John Browning's discography include three recordings on the Delos label devoted to the music of Liszt, Mussorgsky and Rachmaninoff. He can also be heard on the Capital, RCA, Phoenix and Seraphim labels, which include the complete Chopin Etudes, all five of the Prokofiev piano concerti, and the Tchaikovsky Piano Concerto No. 1. Recordings of Richard Cumming's Twenty-Four Preludes and Silhouettes, written for and dedicated to John Browning, were released on the CRI label.

First prize for Piano at the age of 16, Gaby l'Hôte married Robert Casadesus with whom she founded the Robert and Gaby Casadesus duo. In 1934, they created, in a first recital in Warsaw, Robert Casadesus' concerto for two pianos. The following year, they played Mozart's concerto for two pianos under the direction of Bruno Walter.

Gaby Casadesus has taught in the US, at the Mozarteum of Salzburg, at the Académie Maurice Ravel in Saint-Jean de Luz and at the American Conservatoire at Fontainebleau. She and her family engaged in boundless activity for the sake of Robert Casadesus' memory, creating the Robert Casadesus piano encounters, the international Robert Casadesus piano competition (created in Cleveland in 1975), and participating in numerous radio and television programmes, musical tributes and recordings...

Gaby Casadesus wrote the books Mes Noces Musicales (1989- ed. Buchet-Chastel/Sacem) and Ma technique quotidienne (Ed. Eschig).

Liuba Enceva was a Bulgarian pianist and music teacher. Initiated to the piano by her mother, at the age of ten she ranked first at the sixty-fifth competition of the Giuseppe Verdi Conservatory in Milan. In 1932, aged nineteen, she graduated from the Milan Conservatory with the highest degree. In Paris she specialized with Marcel Ciampi and Lazar Levy and in Berlin with Edwin Fischer. From 1926 she started to perform in Bulgaria. In 1936 she won the silver medal at the International Competition for singers and instrumentalists in Vienna, after which she started to tour internationally.

Since 1963, she was a Professor of Piano at the State Conservatory in Sofia, where she had been a regular lecturer since 1950, combining a concert career with her pedagogic activities. Because of her high artistic integrity, Liuba Enceva was regularly invited to be on the juries of international piano competitions such as the Tchaikovsky, Chopin, Queen Elisabeth, Robert Schuman, Bach, Debussy and Busoni Competitions. She was a visiting professor at the Muzishino Academy in Tokyo in 1981-82, during which she toured Japan and Australia extensively. She regularly gave master classes and in 1985 founded and managed the Faculty of Music in the city of Isperih.

In 1937 Liuba Enceva participated in the opening of the Bulgaria Hall in Sofia, with a performance of the concerto for two pianos and orchestra by Johann Sebastian Bach with Dimitar Nenov, accompanied by the Sofia Philharmonic Orchestra, conducted by T. Tsankov. She returned to Sofia for her first concert there after World War II in 1946. Later on she became an established soloist at Radio Sofia. In 1959 she performed for the first time with Sava Dimitrov on the clarinet, a duo which would tour the music scenes for 26 years.

For the Alpha and Lehman Gorle label she made the first recordings of works by Pancho, Svetoslav Obretenov, Dimitar Nenov, Parashkev Hadjiev and Georgi Zlatev-Cherkin. In 1989 Liuba Enceva made her last recording for the Bulgarian National Radio, which was issued on CD in 2009 on the occasion of 20 years of her death.

In 1952, Liuba Enceva received the Dimitrov Prize and in 1979 she was awarded the title of People's Artist of Bulgaria. In 1985 she received the Award of Musical Days "Dimitar Nenov" in Razgrad. In 1997, her husband Alexander Petrov donated her native home to the Young Talents Foundation. Since 2008, an annual award with the name of Liuba Enceva is organised in the Academy of Music, Dance and Fine Arts Plovdiv. There is a also an Arts Foundation named after her.

Leon Fleisher, whose career as an acclaimed US concert pianist continued despite losing the use of his right hand, has died aged 92 in Baltimore on 2 August 2020.

Born to eastern European Jewish immigrants in San Francisco in 1928, Fleisher was a child prodigy who, aged four, would repeat the piano phrases his older brother had been learning, without teaching. He played his first public concert aged eight, and began being taught by star pianist Artur Schnabel the following year. He made his debut with the New York Philharmonic Orchestra, at the city’s Carnegie Hall, when he was 16.

As a young man, he signed a contract with Columbia Masterworks, and earned acclaim for his performances of piano concertos by Brahms, Liszt and Beethoven, with conductors including Leonard Bernstein and George Szell.

By 1949, however, though he had played with many of the major American orchestras and had given recitals across the country, engagements began to dry up for Mr. Fleisher. The next year he moved to Paris and remained in Europe until 1958, relocating first to the Netherlands and then to Italy.

As an expatriate, Mr. Fleisher became the first American to win the gold medal at the Queen Elisabeth Competition in Brussels, in 1952. The victory led to a long list of engagements in Europe and revived interest in him among American orchestras, managers and concert promoters.

He developed a condition called focal dystonia, which he later attributed to over-practising, that led to numbness in his right hand and two of his fingers curling inward. Aged 36, he could no longer play with both hands, causing him a “deep funk and despair”, he later said.

After two years of inactivity, he refocused on repertoire for the left hand, including works by Ravel, Prokofiev and Britten, as well as music newly composed for him, and began a successful conducting career with orchestras in Baltimore and Annapolis.

He attempted a return to two-handed playing in the mid-80s but didn’t feel he had enough facility with his right hand. However, after further treatment in the 90s, with a combination of Botox injections and deep tissue massage, he regained the use of his afflicted fingers and recorded new albums of two-handed work.

A documentary about his life, Two Hands, was nominated for best documentary short at the 2006 Academy awards.

Articles from The NY Times and The Guardian

Emil Gilels was born in Odessa. He did not come from a musical family: his father worked as a clerk in the sugar refinery and his mother looked after the large family. At the age of five and a half he was taken to Yakov Tkach, a famous piano pedagogue in Odessa. He completed his first period of studies with unprecedented ease. In 1929 aged twelve, he gave his first public concert. In 1930 he was accepted to the conservatory in Odessa into the class of Berta Reingbald. Her main goal was his participation in the First All-Union Competition of Performers which was announced to take place in 1933 in Moscow. Gilels’ playing created a sensation - when he finished his programme the auditorium rose up in tumultuous ovation and even the jury stood to applaud. The question of first prize was not even discussed: in a unanimous decision Gilels was announced the winner. The competition changed Emil’s life - he was suddenly famous throughout the land. Following the competition, Gilels embarked on an extensive concert tour around the USSR.

Gilels graduated from the Odessa Conservatory in the autumn of 1935. Subsequently, he was accepted into the class of Heinrich Neuhaus as a postgraduate student at the Moscow Conservatory, and Gilels renewed his commitment to giving concerts. The phenomenon, ‘Gilels’, found its recognition from the outside. Upon arriving to Moscow at the start of 1936, the conductor Otto Klemperer performed Beethoven’s Piano Concerto No. 3 in C minor Opus 37 with none other than Gilels as the soloist. In 1936 he participated in his first international competition - the International Vienna Music Academy Competition. Despite attracting the attention of Europe and the unquestionable prestige of being a finalist, he looked upon the second place awarded to him as a failure. First place was awarded to his friend Jacob Flier - an intensely Romantic pianist.

In 1938 Gilels and Flier set off to the Queen Elisabeth Competition. They were expected to uphold the victories of the Soviet violinists, lead by David Oistrakh a year earlier, and to return in triumph. Gilels was awarded the first prize and Flier took the third. The whole musical world began to talk about Emil Gilels. Following the competition he was meant to embark on a lengthy concert tour, including a tour of the USA. These plans were abruptly interrupted by the Second World War. On home soil Gilels became a hero: he received a medal for his achievements, was greeted by a welcome party upon his return and in the Soviet consciousness his name sounded in equal rank with the names of famous explorers, pilots and film stars.

Emil Gilels completed his postgraduate studies in 1938 and began teaching at the Moscow Conservatory (from 1952 becoming a professor). His pedagogical work continued sporadically until 1976, but because of the huge demands of his concerts he could not devote much time to teaching. Nevertheless his class numbered important pianists such as Marina Mdivani, Valery Afanassiev, Igor Zhukov and the pianist-composer Vladimir Blok.

When the war broke out he was not evacuated with the conservatory. Instead he joined the civilian resistance and following an order for his return, he began to perform on the Front and in hospitals. At the start of 1943 he performed Stravinsky’s bravura piece Petrushka to the weary inhabitants of besieged Leningrad.

When the war ended Emil Gilels was to undertake a special mission. He was to represent the Art of a victorious country. He took to the stage amongst the ruins of Eastern Europe, and soon after the war he went on concert tours of Italy, the United Kingdom, France, Austria, Scandinavia and numerous other countries. Every European country considered it a great privilege to invite Gilels to perform or record. He was decorated with medals and honours - the public worshiped him.

In 1955 Emil Gilels became the first Soviet Artist, since the Second World War, to travel on a concert tour of the USA. The years between the 1950s and 1970s saw him at the height of his powers in all aspects of his playing. He performed under the baton of many of the finest conductors: Mravinsky, Melik-Pashayev, Svetlanov, Ivanov, Rakhlin, Gauk, Ginsburg, Eliasberg, Niyazi, Jarvi, Kitayenko, Dudarova, Barshai. Gilels’ collaboration with Sanderling and Kondrashin were particularly important and longstanding. Within the USSR he had further collaborations with Gusman, Paverman, Maluntsyan, Gokieli, Kolomiytseva, Shaposhnikov, Gurtovoy, Rabinovich, Katz, Feldman, Vigners, Sherman, Stasevich, Sokolov, Tiulin, Kravchenko, Karapetyan, Dubrovsky, Tolba, Provatorov, Katayev, Aranovich, Chunikhin, Yadikh, Nikolayevsky and many others. Through his collaborations he also was able to find new, talented conductors such as Verbintsky and Ovchinikov.

Emil Gilels also played in ensembles: with pianists Flier and Zak, and later with his daughter Elena Gilels; violinists Elisabeth Gilels (his sister), Tziganov, Kogan; with the Beethoven Quartet; in a trio with Tziganov and Shirinsky, as well as his own trio (Gilels, Kogan, Rostropovich); with flautist Korneiv; and the French horn player Shapiro. Abroad he collaborated with the Amadeus Quartet and the Sibelius Academy Quartet.

Emil Gilels’ commitment to the recording studio was as intensive as his commitment to his concert tours : he recorded with many record companies, including Melodiya, Angel, Ariola, EMI, Eterna and Deutsche Grammophon. His earliest recordings are from the 1930s and include Loeillet-Godowsky’s Gigue, the Fantasia on Two Themes from The Marriage of Figaro by Mozart-Liszt-Busoni, Chopin’s Ballade No. 1 in G minor Opus 23, Liszt’s Hungarian Rhapsody No. 9, Schumann’s Toccata and Mendelssohn’s Duetto from the Songs without Words. All in all Gilels committed to record over five hundred works (not counting the multiple versions that exist for many of the cycles and individual pieces): the exact number however may never become known because of the numerous amateur audio and video recordings made from Gilels’ recitals.

Between the 1950s and 1970s Gilels continued to teach at the Moscow Conservatory whilst maintaining an active profile as an important public figure. He could not however refuse the invitation to preside over the jury at the International Tchaikovsky Piano Competition - a position that he maintained for the first four competitions.

In the middle of the 1970s Emil Gilels started to limit any activities that were not directly related to his performing. He retired as a jury member of international piano competitions and stopped teaching.

Emil Gilels had to his name the Peoples’ Artist of the USSR, was a recipient of the Lenin Prize (1962), and in 1976 in honour of his sixtieth birthday was bestowed the highest possible governmental award - Hero of Socialist Labour.

Acclaimed for the heartfelt intensity and technical mastery of his playing, pianist Joseph Kalichstein enthralls audiences throughout the United States and Europe, winning equal praise as orchestral soloist, recitalist and chamber musician.

With his diverse repertoire of works ranging from Mozart, Beethoven and Brahms to 20th-century works by Bartok, Prokofiev and others, Joseph Kalichstein has collaborated with such celebrated conductors as Daniel Barenboim, Pierre Boulez, James Conlon, Christoph von Dohnányi, James DePreist, Charles Dutoit, Lawrence Foster, Zubin Mehta, Andre Previn, Kurt Sanderling, Leonard Slatkin, Edo de Waart, David Zinman and the late George Szell and Erich Leinsdorf. He has performed with the world’s greatest orchestras: the Cleveland Orchestra; the Symphony orchestras of London, Boston, Chicago, St. Louis and Detroit where he will return this season; Tokyo’s NHK; and the Berlin, New York, Los Angeles and Israel Philharmonic Orchestras. He has also appeared with the English, Scottish, Franz Liszt, Israel and Saint Paul Chamber Orchestras, some of which he has led in performances of Mozart Piano Concerti. He has been enthusiastically received at the Edinburgh, Aspen, Prague, Ravinia, Tanglewood, Salzburg, and Verbier festivals.

A favorite of New York concertgoers, Joseph Kalichstein has appeared in several recitals on Carnegie Hall’s “Keyboard Virtuosi” series. His two latest CD releases include music of Schumann and Brahms (on Koch International) and of Brahms, Mendelssohn and Schubert (“The Romantic Piano”, on Audiofon Records.) In the summer of 2008, he celebrated his 25th consecutive year at the Aspen Music Festival with a special 4-piano concert, playing 4- and 8-hand music with his friends and colleagues Emanuel Ax, Yefim Bronfman and Misha Dichter.

Joseph Kalichstein is a founding member of the famed Kalichstein-Laredo-Robinson piano trio, celebrating its 35th anniversary in 2012. The Trio continues to play in major music capitals as well as on all the great university concert series. Its current recording project is a 4-CD Brahms Cycle. Joseph Kalichstein is also a frequent guest pianist with the world’s most beloved string quartets, including the Guarneri and the Emerson, with whom he has participated in their London and Washington Shostakovich Cycles. He serves as the Chamber Music Advisor to the Kennedy Center and is the Artistic Director of the Center’s Fortas Chamber Music Concerts. He continues to hold the inaugural Chamber Music Chair at the Juilliard School, where he also has a limited class for advanced piano students.

Born in Tel Aviv, Joseph Kalichstein came to the United States in 1962. His principal teachers included Joshua Shor in Israel and Edward Steuermann and Ilona Kabos at The Juilliard School. Prior to winning the 1969 Leventritt Award, he had won the Young Concert Artists Auditions, and as a result he gave a heralded New York recital debut, followed by an invitation from Leonard Bernstein to perform Beethoven’s Piano Concerto No. 4 with the New York Philharmonic in a nationally televised concert on CBS.

Viktor Merjanov is professor of piano and director of the department at the Moscow Conservatory. He was educated at the same institution, studying there with professor Feinberg. A laureate of many national and international competitions, including the Chopin Competition in 1940, he has had several pupils who have in turn themselves become competition prize-winners.
His career as soloist, teacher and lecturer, has led Viktor Merjanov all over the (then) Soviet Union, to many European capitals, to Cuba and the United States. He has played under the baton of many celebrated conductors, such as Kondrashin, Temirkanov, Maderna and Berglund.
He is also the author of articles on a variety of musical and pedagogical themes. Viktor Merjanov is president of the Association of Soviet Pianists and has often been a jury member at international competitions.

Michael Ponti’s parents were American, his father being in the diplomatic service; and although born in Germany, Ponti was raised in Washington DC in the United States. Having begun his piano tuition with his father, he continued with Gilmour MacDonald and at the age of eleven performed Bach’s Das wohltemperierte Klavier in public. His parents returned to Germany in 1955 where he continued his studies at the Hochschule in Frankfurt with Erich Flinsch who had been Emil von Sauer’s assistant for many years at the Vienna Conservatory. During this period he made his first concert tour and attended master classes given by Arthur Rubinstein and Robert Casadesus. Michael Ponti was placed at various competitions and, after three attempts, won first prize at the Busoni Competition in Bolzano in 1964 which launched him on a successful career. He made his debut in Vienna not long afterwards with five performances of Bartók’s Piano Concerto No. 2 with the Vienna Symphony Orchestra conducted by Wolfgang Sawallisch.

In the early 1970s, preceded by his new LP recordings, Michael Ponti made his debut in New York and London. Although he played in New York in January of 1972, his official debut in that city was given in March at a three-hour recital in which he played nine encores. At his London debut in June of the same year he played an early Beethoven sonata, Brahms’s Variations on a theme of Paganini Op. 35, Chopin’s Piano Sonata in B minor Op. 58, some Scriabin and Blumenfeld, then ended with Stravinsky’s Three Movements from Petrushka. Although Ponti revels in technically demanding works of the nineteenth century, and particularly less familiar ones, he concentrates more on the technical aspects than the musical ones.

Michael Ponti has played with the Suisse Romande Orchestra, Buenos Aires Philharmonic Orchestra, Bamberg Symphony Orchestra and the Orchestra of the Academy of Saint Cecilia of Rome with conductors including Georg Solti, Sixten Ehrling and Stanisław Skrowaczewski. He has toured extensively throughout Europe, Greece, Egypt, Scandinavia and South America and played in Tokyo, Moscow and Warsaw; and in 1977 formed a trio with violinist Robert Zimansky and cellist Jan Polasek.

Michael Ponti’s first LP for Vox/Turnabout was of the technically demanding Piano Concerto in F minor Op. 16 by Adolf Henselt. This began a long association with the label for whom he recorded a huge amount of forgotten music of the nineteenth and early twentieth centuries by composers including Moscheles, Tausig, Thalberg, Scharwenka, Rubinstein, Alkan, Moszkowski, Raff, Clara Schumann, Bronsart, Goetz, Stavenhagen, Sinding, d’Albert, Hiller, Berwald, Medtner, Glazunov, Balakirev, Liapunov and Litolff. At the time, these were generally the only recordings of these works.

For Deutsche Grammophon, Michael Ponti accompanied baritone Dietrich Fischer-Dieskau in an LP of songs by Charles Ives. In 1984 he recorded Liszt’s Études d’exécution transcendante d’après Paganini and Brahms’s Variations on a theme of Paganini Op. 35 and the following year recorded the same composer’s Variations and Fugue on a theme of Handel Op. 24 and Liszt’s Variations on Weinen, Klagen, Sorgen, Zagen and the Fantasia and Fugue on B-A-C-H for Naxos. In the mid-1990s the now defunct Dante company apparently issued at least seven compact discs of ‘un-edited live recordings’ of Ponti in works by Rachmaninov, Chopin, Beethoven, Liszt, Brahms and Schumann and some recordings of Ponti’s Trio; this ensemble also appeared on the Accord label in 1997 playing the two piano trios by Saint-Saëns.