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My Recordings
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 recording.


Carnaval
Schumann: Carnaval Op. 9, Kinderszenen Op. 15, Intermezzo Op. 26,
Edna Stern: To-nal or Not To-nal
“With a strongly felt affection, the Israeli-Belgian pianist renders a performance full of tenderness and refinement, taking us from the famous pages of the Carnaval through the Scenes of Childhood with a real sense of detail and phrasing.” - Magazine Pianiste, Melissa Khong, 2024
Awards: 5-Diapason.
Edna Stern: To-nal or Not To-nal
“With a strongly felt affection, the Israeli-Belgian pianist renders a performance full of tenderness and refinement, taking us from the famous pages of the Carnaval through the Scenes of Childhood with a real sense of detail and phrasing.” - Magazine Pianiste, Melissa Khong, 2024
Awards: 5-Diapason.
Bach Book of Zen
J.S. Bach Well Tempered Keyboard Book I
“A velvety Bösendorger, a color palette of touch and articulations are deployed with the delicacy of a pastel. ...an extreme sensibility of vision, a developed sense of the composition’s intimacy, and above all, the mysterious and spiritual je-ne-sais-quoi that reveals the presence of the brain inside the piece.”
Diapason Magazine 2023
Complimented by Edna Stern's book: Interpreting and understanding piano music: Bach's well tempered keyboard.
“A velvety Bösendorger, a color palette of touch and articulations are deployed with the delicacy of a pastel. ...an extreme sensibility of vision, a developed sense of the composition’s intimacy, and above all, the mysterious and spiritual je-ne-sais-quoi that reveals the presence of the brain inside the piece.”
Diapason Magazine 2023
Complimented by Edna Stern's book: Interpreting and understanding piano music: Bach's well tempered keyboard.




Interpreting and understanding piano music: Bach's well tempered keyboard
A book on how to interpret and understand piano music.
What is interpretation? I think the vast majority of music listeners (or even book readers) don’t comprehend that interpretation even exists or what it is. They see a work, and a musician playing that work. They get that each artist has their own way of playing, but it is as if there is the way the piece is supposed to be played and the better you are, the closer you get to it. The important part of playing the notes is achieved by every professional, or so they see it.
I try in this book to transmit what a pianist actually faces when approaching a piece of music. What actually goes on when deciding how to turn these notes into music. The vast pool of decisions and their consequences for further decisions, and their impact on how the piece sounds at the end.
This book has two main goals: to help the pianist who wants to play Bach’s Well Tempered Clavier and transmit to the reader – anyone interested in music or in art in general – what is, and what goes into the decisions surrounding a musical interpretation. What goes on in this passage from notes to sound.
What is interpretation? I think the vast majority of music listeners (or even book readers) don’t comprehend that interpretation even exists or what it is. They see a work, and a musician playing that work. They get that each artist has their own way of playing, but it is as if there is the way the piece is supposed to be played and the better you are, the closer you get to it. The important part of playing the notes is achieved by every professional, or so they see it.
I try in this book to transmit what a pianist actually faces when approaching a piece of music. What actually goes on when deciding how to turn these notes into music. The vast pool of decisions and their consequences for further decisions, and their impact on how the piece sounds at the end.
This book has two main goals: to help the pianist who wants to play Bach’s Well Tempered Clavier and transmit to the reader – anyone interested in music or in art in general – what is, and what goes into the decisions surrounding a musical interpretation. What goes on in this passage from notes to sound.
Schubert on Tape
Schubert: Moments Musicaux, Impromptus Op. 90
"Edna Stern’s latest release is a fascinating find. Beautifully performed, for sure, but those performances are led by an intriguing, impeccably realised idea. [Tape recording sound and no editing] ...We hear chiming, keening top notes and a gorgeous bass rumble – particularly in, say, Impromptu No. 2 or Moments Musicaux No. 2 – reminiscent of a fortepiano (I was interested to read that Stern also plays this instrument). The dexterity and sensitivity of Stern’s playing is still immaculately conveyed, shining through – while benefiting from – the tape’s ambiance." ArtMuseLondon.com/Adrian Ainsworth, 2022
"Edna Stern’s latest release is a fascinating find. Beautifully performed, for sure, but those performances are led by an intriguing, impeccably realised idea. [Tape recording sound and no editing] ...We hear chiming, keening top notes and a gorgeous bass rumble – particularly in, say, Impromptu No. 2 or Moments Musicaux No. 2 – reminiscent of a fortepiano (I was interested to read that Stern also plays this instrument). The dexterity and sensitivity of Stern’s playing is still immaculately conveyed, shining through – while benefiting from – the tape’s ambiance." ArtMuseLondon.com/Adrian Ainsworth, 2022




Johann Simon Mayr Piano Concerti
Johann Simon Mayr: Piano Concerti No. 1 and 2 with the Georgian Chamber Orchestra of Ingolstadt and Ruben Gazarian
“Pianist Edna Stern dedicates her eminent abilities not only to canonised music from Bach to Brahms, but devotes herself also to less known masters. After extensive studies in Tel-Aviv with Neuhaus-pupil Viktor Derevianko and in Basel with Krystian Zimerman, she discovered the fortepiano encouraged by Andreas Staier. This becomes evident in her congenial recordings of works by Galuppi, C.P.E. Bach or Hélène de Montgeroult, a pupil of Clementi and Dussek. Now she has recorded the two Piano Concerti by Johann Simon Mayr with the Georgian Chamber Orchestra under the direction of Ruben Gazarian (Ars/Note 1). Her affectionate interpretation brings delightful charm but at the same time dramatic urgency.“
Frankfurter Allgemeine Zeitung 2020
“Pianist Edna Stern dedicates her eminent abilities not only to canonised music from Bach to Brahms, but devotes herself also to less known masters. After extensive studies in Tel-Aviv with Neuhaus-pupil Viktor Derevianko and in Basel with Krystian Zimerman, she discovered the fortepiano encouraged by Andreas Staier. This becomes evident in her congenial recordings of works by Galuppi, C.P.E. Bach or Hélène de Montgeroult, a pupil of Clementi and Dussek. Now she has recorded the two Piano Concerti by Johann Simon Mayr with the Georgian Chamber Orchestra under the direction of Ruben Gazarian (Ars/Note 1). Her affectionate interpretation brings delightful charm but at the same time dramatic urgency.“
Frankfurter Allgemeine Zeitung 2020
Hélène de Montgeroult
Piano pieces of forgotten seminal female composer Hélène de Montgeroult.
“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 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 2017
Awards: Critics choice of 2017 Gramophone magazine. Critics Choice 2017 of France Musique.
“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 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 2017
Awards: Critics choice of 2017 Gramophone magazine. Critics Choice 2017 of France Musique.




Me-Su-Bach
J.S. Bach: Partitas No. 1, 2, 6
“[…] 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, 2015
Awards: Classica 4 stars.
“[…] 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, 2015
Awards: Classica 4 stars.
Beethoven Appassionata
Beethoven: Appassionata and other sonatas.
“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.”
Pierre Gervasoni, Le Monde, 2014
Awards: Le Monde top 10 cd's of the year.
“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.”
Pierre Gervasoni, Le Monde, 2014
Awards: Le Monde top 10 cd's of the year.




Beethoven Tempest
Beethoven: Tempest and other sonatas.
“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.”
Pierre Gervasoni, Le Monde, 2014
Awards: Le Monde top 10 cd's of the year.
“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.”
Pierre Gervasoni, Le Monde, 2014
Awards: Le Monde top 10 cd's of the year.
Piano of Enlightenment
Piano of Enlightenment: Piano pieces by Galuppi, C.P.E. Bach, Mozart and Haydn.
“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, 2012
“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, 2012




Mozart Piano Concerti
Mozart: Piano Concerti K. 279, K. 414 and 449, with the Orchestre d’Auvergne and Arie Van Beek
“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, 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, 2010
Awards: Le Monde top 10 cd of the year.
“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, 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, 2010
Awards: Le Monde top 10 cd of the year.
Chopin: Piano recital at the Philharmonie de Paris
Chopin: Piano recital at the Philharmonie de Paris
“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 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, 2010
“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 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, 2010




Chopin – chamber music with cellist Ophélie Gaillard
Chopin: chamber music with cellist Ophélie Gaillard
“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
Awards: Diapason 5 stars.
“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
Awards: Diapason 5 stars.
Bach “Nun komm’ der Heiden Heiland”
Bach “Nun komm’ der Heiden Heiland”:Préludes, Fugues, et Chorales de J.S. Bach and a Brahms choral.
"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, 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, 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 Magazine, 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 2009
Awards: Diapason d'Or.
"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, 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, 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 Magazine, 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 2009
Awards: Diapason d'Or.




Schumann “Fantasy”
Schumann: Fantasy Op. 17, Abegg Variations Op. 1, Symphonic Etudes Op. 13.
“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, 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
Awards: Diapason 5 stars; Classica 4 stars.
“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, 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
Awards: Diapason 5 stars; Classica 4 stars.
C.P.E. Bach pianoforte and violin Sonatas with Amandine Beyer
C.P.E. Bach: Pianoforte and Violin Sonatas with Amandine Beyer.
“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
Awards: Diapason 5 stars; Classica R9
“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
Awards: Diapason 5 stars; Classica R9




Bach Chaconne
Bach: Piano transcriptions of the Bach Chanconne BWV 1004 by Brahms, Busoni and Lutz.
“Here is one of the most fascinating piano CD’s in the last years.”
Le Figaro, 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, 2005
“There is rigor, 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, 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, 2005
Awards: Diapason Découverte; Classica R9.
“Here is one of the most fascinating piano CD’s in the last years.”
Le Figaro, 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, 2005
“There is rigor, 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, 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, 2005
Awards: Diapason Découverte; Classica R9.
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