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Gabriela Imreh plays Piano Transcriptions


1. Toccata and Fugue in D minor: I 2:27

 2. Toccata and Fugue in D minor: II 5:32

 3. Prelude, Fugue and Variation 10:58

 4. Totentanz 15:59

 5. Vocalise 6:14

 6. Liebesleid (Love's Sorrow) 4:46

 7. Liebesfreud (Love's Joy) 7:03

 8. The Man I Love 2:15

 9. S'Wonderful 1:04

10. Nobody but You 0:49

11. Do It Again 1:34

12. Swanee 0:50

13. Oh, Lady Be Good 1:13

14. Somebody Loves Me 1:07

15. Sweet and Low Down 1:03

16. I'll Build a Stairway to Paradise 0:45

17. Fascinating Rhythm 1:00

18. That Certain Feeling 1:12

19. I Got Rhythm 1:22


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“Arabesque's Gabriela Imreh plays Piano Transcriptions features the acclaimed, Transylvanian-born, New York based virtuoso in six, standard format concert transcriptions and 12 pieces drawn from George Gershwin's Song Book, a volume of transcribed songs that Gershwin himself compiled in 1932. On Gabriela Imreh plays Piano Transcriptions, Arabesque has captured her in fine form, and this release reveals that Imreh's interpretations of these transcriptions are unique. She emphasizes lilt and sensitivity in the Gershwin transcriptions, often performed in a broad and raggy style that can be at odds with the still essentially vocal nature of these numbers. Imreh demonstrates clarity and restraint in Liszt's own solo transcription of his concerted Totentanz, and it's nice to hear this ominous work played with something of the classicistic touch that Liszt himself is said to have employed; this is the highlight of the disc. Imreh does not engage discernable force with the piano anywhere on this disc, but is consistently light-fingered, agile, and expressive, and this helps to make the Rachmaninoff transcriptions sing out; these are lovely accounts of some of Rachmaninoff's least known piano works.” ALLMUSIC.COM


“Imreh persuades us that the arrangements offered on this CD add to an appreciation of the originals. With Carl Tausig’s transcriptions of J.S. Bach’s D Minor Toccata and Fugue, Imreh doesn’t attempt an organ-like sonority; instead she takes full advantage of the textural clarity her instrument allows to give the music, the fugue especially, forward momentum and dramatic shape. There’s a lovely wistfulness to the opening section of Cesar Franck’s Prelude, Fugue, and Variations with a natural and fluid flow to the melody. Liszt’s own transcription of the orchestral work Totentanz begins with a demonic tread; extravagant glissandi contribute to a mood of edge-of-your-seat excitement.  Imreh moves easily from a realm of exquisite delicacy to…well, Lisztian bombast. Sergei Rachmaninoff’s famous Vocalise, as re-imagined by Zoltan Kocsis—clearly, the art of making piano transcriptions hasn’t died!__show off the soloist’s formidable technique. There’s a section toward the end that truly sounds as though the pianist has three hands.” PHILADELPHIA MUSIC MAKERS MAGAZINE


“Gabriela Imreh is a Rumanian-born pianist based in New Jersey. She extensively concertizes and has released several worthy CDs for Connoisseur Society, a label well known for its keyboard recordings. This disc can also be counted a success. . . Imreh provides fresh insights into the originals, exploiting the clarifying textures of the piano with a fluent and confident technique. The piano sound from the American Academy of Arts and Letters in New York City, captured by veteran producer/engineer Max Wilcox, is magnificent.” THE ABSOLUTE SOUND


“Romanian-born, locally based Gabriela Imreh is hard to resist, partly because she believes the Gershwin songs are extremely important matters, and doesn't buy into the imposing pretensions of the more virtuosic stuff. Though she can summon thundering, steel-fingered bass notes, it's the distilled delicacy of her treble playing that tells you she's a world-class talent.  (Arabesque***1/2) PHILADELPHIA INQUIRER


 “Imreh captures all the beauty of these well known works and delivers them with beautiful and rich tone from her Yamaha CFIII.” CLASSICAL MUSIC GUIDE


“There’s much to glean from Gabriela Imreh’s solid technique and musicianship. In the Tausig/Bach D minor Toccata & Fugue and Bauer/Franck Prelude, Fugue and Variation, Imreh downplays the transcribers’ full-bodies attempts at organ replication, emphasizing line over mass. She conveys enough textural differentiation in the Liszt Totentanz to evoke the work’s original concerto incarnation, with piano and orchestra battling it out. . . Her clear-cut and well controlled readings of Rachmaninov’s delectable Kreisler transformations (the Liebeslied and Liebesfreud) contrast to the transcriber’s more angular, scintillating pianism. . . Perhaps the Kocis/Rachmaniov Vocalise best showcases Imreh’s innate lyric gifts and sensitivity. . . Max Wilcox’s warm, realistic production and the pianist’s extensive, excellent booklet notes add value to this release.” CLASSICS TODAY


“Romanian-born pianist Gabriela Imreh, now a Philadelphian with impressive ties to our city’s musical scene, is known internationally for her keyboard artistry . . . She recently added to her discography with a debut on the celebrated Arabesque label with a series of piano transcriptions of works by Liszt, Bach, Franck, Gershwin, and Rachmaninoff, all played with the brilliance and thoughtfulness she demonstrates in her frequent local performances with Daniel Spalding’s Virtuosi Chamber Orchestra.” UNIVERSITY CITY REVIEW (PHILADELPHIA)


(Excerpt from Allegro moderato)​

American Classics - Vittorio Giannini


Piano Concerto


1. Sostenuto - Allegro moderato

2. Adagio

3. Burlesca: Allegro vigoroso


Symphony No. 4


4. Allegro con passione

5. Sostenuto e calmo

6. Allegro


Gabriela Imreh, piano

Daniel Spalding, conductor

Bournemouth Symphony Orchestra


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 “Romanian-born Gabriela Imreh is the Heroine of the Piano Concerto (1934)  . . . there’s masses of beefy bravura that she delivers with stunning command.” GRAMOPHONE


“These world premiere performances give off an aura of undeviating focus and dedication. Pianist Gabriela Imreh, whose personal note about the concerto displays a genuine authenticity, throws herself into her part with a dazzling combination of passion and precision.” FANFARE


“His Piano Concerto is a show-stopper: 40 minutes of sweeping melodies, harmonically colorful sequences, acres of virtuosity--it's just plain good stuff and it would bring the house down in concert. Apparently this is its first performance since its premiere in 1937--scandalous! Happily, Gabriela Imreh flings herself at the piece and delivers an excellent performance of the elaborate solo part.” CLASSICS TODAY


“The music benefits greatly by the playing of pianist Gabriela Imreh, who puts her obviously substantive technique and interpretive skills to good use. It is clear that she cares about the music and has all of the requisite skill to convey every ounce of its expression. The focus of her interpretation is on the intimacy and lyricism of the music as opposed to any attempt to maximize the bravura. . . Both Spalding and Imreh deserve great praise for bringing us superb performances of such highly expressive, heartfelt music.” CLASSICAL.NET


“The concerto gives a significant recording opportunity to Gabriela Imreh, who is so compelling (and so under-recorded) I’d seek her out playing most anything.” PHILADELPHIA INQUIRER


“The only piano concerto of the American Vittorio Giannini (1903-1966) was written in 1934, premiered in 1937 (by Rosalyn Tureck, no less)—and never heard again before the sessions for this recording. A pity: it’s serious fun, just what you’d hope for from an over-the-top virtuoso concerto in the Rachmaninoff mould, with a fearsome solo part—splendidly delivered by Romanian-born Gabriela Imreh.” INTERNATIONAL PIANO


“Imreh certainly plays with abandon and commitment to the concerto, a grand-scale (41-minute) 3-movement work Romantic tradition. . .  And there is a considerable amount of swagger, carried out with panache by both the soloist and Spalding's forces, well recorded by Naxos' engineers.”  ENJOY THE MUSIC.COM


“[The Piano Concerto] . . . provides the pianist with a lot of room both to emote and to throw off some firecrackers. Imreh does so here; she is obviously passionately devoted to this concerto and puts everything into it . . . you can feel the love in every bar of this passionate and painstaking performance.” ALL MUSIC.COM


“She plays it to perfection.” CLASSICAL LOST AND FOUND


“This 41-minute concerto is steeped in the Rachmaninoffian tradition. It is imbued with gorgeous melodies and powerful climaxes. It contains a lush slow movement and has a thrilling coda which leaves the listener breathless and in awe. A young Romanian pianist, Gabriela Imreh, delivers the goods in this muscular work . . . Don't miss this Naxos disc!” CLASSICAL MUSIC GUIDE


“Pianist Gabriela Imreh deserves great compliments for her inspired and flawless execution of this mammoth work”



“Pianist Gabriela Imreh brings this gorgeous monster to vivid life, supplying not only appropriate panache in the glittering passage- work and assertive power in the triumphant climaxes, but also delicacy and tenderness in the quieter, more restrained moments of the central adagio. “    AMERICAN RECORD GUIDE



Gabriela Imreh plays Liszt Soires de Vienne


1. Allegretto Malinconico
2. Poco Allegro
3. Allegro Vivace
4. Andantino a Capriccio
5. Moderato Cantabile con Affetto
6. Allegro con Strepito
7. Allegro Spiritoso
8. Allegro con Brio
9. Preludio a Capriccio



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“Her eventful interpretations give the Soirees just what it needs…her climaxes ring out firmly, her legato is sweet…because she commands such a wide variety of touch, especially at the quiet end of the spectrum, she manages to tint the music with constantly shifting colors…most of all, because she has such a flexible sense of rhythm, she manages to tease the music to a degree rarely attempted by contemporary pianists.   To my ears she’s a major talent…All in all, a delightfully ear-opening release.” FANFARE


“Imreh is an interesting pianist.  One of the first things to be noticed in her playing is her use of the pedal.  She’s not afraid to pedal through harmonies, and she does it with such a sensitive ear that the textures never sound blurred or heavy.  She also is something of a throwback to the old romantic style, with her constant but controlled tempo fluctuations.  These allow the music to have variety in phrase.  She uses her warm piano sound to good advantage, never sounding flurried even in heavily fortissimo passages.  But basically she is a lyricist who sings her way through these lovely Liszt pieces with real personality.  In short, this Romanian pianist is a surprise package, and the faithful recorded sound sets her delicious playing off to best advantage.” Former New York Times chief critic HAROLD C. SCHONBERG


“Gabriela Imreh is an elegant pianist with a lovely sense of pacing and a good feel for rubato. She also catches the balance between the Lisztian moments and the Schubertian extremely well; the more introverted passages are finely and thoughtfully shaded, but extrovert virtuosity is equally relished.” BBC MUSIC MAGAZINE, UK


“This music, written for nimble and light fingers as much as for a carefree spirit, finds a loving and faithful interpreter in Gabriela Imreh…No. 6, the most famous and favoured by most pianists, receives a thoroughly commendable reading…The mood of No. 1, malincolico; of No. 5--con affetto; and others--con brio, spirtuoso and a cappriccio; are all caught and conveyed to perfection.”  PIANO JOURNAL, UK

Gabriela Imreh plays Bach


1. Chromatic Fantasy & Fugue in D Minor, BWV 903


Partita No. 1 in B-flat Major, BWV 825
2. Praeludium
3. Allemande
4. Corrente
5. Sarabande
6. Menuet
7. Giga


Toccata in E Minor, BWV 914
8. Toccata
9. Adagio
10. Fuga (a 3 voci)


Italian Concerto in F major, BWV 971
11. Allegro
12. Andante
13. Presto


14. Chaconne in D Minor (Transcribed by Busoni)



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“Imreh captivates her audience with the spontaneity exhibited in the performances…a restrained Romantic sensitivity that is refreshing to hear in Bach performance.” CLAVIER


"She demonstrates technical command of the repertoire.  Her fingers are capable of negotiating the composer's complicated polyphony with the utmost clarity at often breakneck tempos.  She offers a sinewy strength balanced by a feminine delicacy and lightness of touch that dazzle the senses.  Imreh also displays a youthful impetuosity that removes the marmoreal figure with the powdered peruke and replaces it with a living, breathing human being."



“The young Romanian pianist Gabriela Imreh seems to be totally at ease in the challenging programme of Bach masterpieces. Her musical intelligence, nimble fingers and dynamic control combine to produce 63 minutes of very enjoyable listening, stylish and committed.” PIANO JOURNAL, UK


“Bach obviously holds no terror for her and she sails into his most difficult passages with aplomb. But there is respect in her approach too; this is not a showoff disc. The slower, less bravura segments are played with care and subtle attention to detail. Perhaps the quality which most impressed this listener in these performances, one that is essential to Bach, is its clarity. Every note, left hand and right, fast passages and slow, comes through with remarkable transparency. I would defy anyone who says he does not like Bach to listen to this recording and not come away with a new appreciation of his genius.”



“Imreh plays the Chromatic Fantasy and Fugue thoughtfully—one slow measured trill is especially impressive. She handles Busoni’s arrangement of the D-Minor solo violin Chaconne with some bravura, and the Saraband of the B flat-Major Partita is distinguished for fine control of touch, a winningly pensive atmosphere, and some well-considered embellishments in the repeats.” FANFARE


American Classics - Howard Hanson


1. Concerto for Organ, Strings and Harp, Op. 22, No. 3

     Joseph  Jackson, Organ (16:09)
2. Nymphs and Satyr Ballet Suite (12:51)
    I. Prelude/II. Fantasy for Clarinet (7:29) 
3. III. Scherzo for Bassoon (3:02)
4. IV. Epilog (2:20) Doris Hall-Gulati, Clarinet,
    Holly Blake, Bassoon

5. Fantasy Variations on a Theme of Youth.
   Op. 40 (11:00) Gabriela Imreh, piano


6. Serenade for Flute, Harp and Strings, (Excerpt)
   Op. 35 (5:31) Andrew Bolotowsky,  Flute
7. Summer Seascape no 2 for Viola and Strings
    (8:28) Adriana Linares, Viola
8. Pastorale for Oboe, Harp and  Strings,
    Op. 38 (7:29)  Johathan Blumenfeld, Oboe


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“…a very pleasing piece and it’s well done here. Gabriela Imreh is a fine soloist. She displays a deft touch in the nimble second variation and she plays the reflective third (of four) variations sensitively. The sound is balanced and lush . . .and the playing, by everyone involved, is superior . . . Two words remain: Encore! And More!”  MUSIC WEB INTERNATIONAL


“Excellently performed” “Winner of the 2006 Writers Choice Award” POSITIVE FEEDBACK ONLINE


“You will certainly enjoy this and I recommend it to you without hesitation” CLASSICS TODAY


“The Fantasy Variations on a Theme of Youth is based on the opening theme of Hanson’s early (1917) Concerto da camera for piano and string quartet . . . The performance offered here is quite fine.” FANFARE


Carmen Ballet & Hungarian Fantasy

Liszt Hungarain Fantasy, arranged for piano solo, strings and percussion by Daniel Spalding. ​ (Excerpt)



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“The piano playing is glittering, light-fingered, luminous and refined…and she is heard in the loveliest of sounds.” PIANOFORTE MAGAZINE, UK


“This take on the Hungarian Fantasy is highly entertaining and exciting…Miss Imreh has more than enough of the panache and digital dexterity to prevent her avid percussion companions from overshadowing her. If you thought this piece no longer holds any surprises for you, listen to this.”



“The Liszt transcription is enjoyable, with excellent playing from Imreh.”




Adios Nonino by Astor Piazzolla

for Piano & Strings

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