Albums

147 albums sorted by Date: from newest to oldest
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Classical - To be released October 27, 2017 | Aparté

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Classical - To be released October 20, 2017 | Aparté

Hi-Res
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Classical - Released September 29, 2017 | Aparté

Hi-Res Booklet
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Classical - Released September 8, 2017 | Aparté

Hi-Res Booklet
For his new album Soave e virtuoso, Alexis Kossenko went on the trail of rare scores from the baroque era. Partitions that remind us that the Italian repertory, if it gives pride of place to the the violin and the voice, nevertheless doesn’t forget wind instruments. At the head of his ensemble Les Ambassadeurs, the conductor and flutist Alexis Kossenko performs delightly concertos by Tartini, Vivaldi and Sammartini. Sometimes voluptuous, sometimes dreadfully acrobatic, these scores require technique and sensitivity from the soloist. With a jubilant virtuosity, at the service of expressiveness, Alexis Kossenko, multi-skilled musician as at ease with flute as with recorder, brings life in colors to the works of the three Italian composers. © Aparté
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Classical - Released September 1, 2017 | Aparté

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Christophe Rousset and the Talens Lyriques bring us to the stage of the Royal Academy of Music where Pygmalion, an act of ballet by Jean-Philippe Rameau inspired by an episode of Ovid’s Metamorphoses, was created in 1748. Love, showing empathy for Pygmalion’s despair of loving a statue, invigorates the sculpted woman who immediately falls in love with her creator. Very suggestive, the music of this tender and mischievous ballet deploys the grace of 18th century dances. Like Ovid’s Love, Christophe Rousset instils life in this score, one of Rameau’s greatest successes in his day, and offers us, thanks to his sense of drama and his impeccable leadership, a new and essential reading of this ballet. © Aparté
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Classical - Released August 25, 2017 | Aparté

Hi-Res Booklet
After an audacious first-record dedicated to Webern, Beethoven and Yun, the young musicians of the Novus Quartet interpret with passion two essential works of Tchaikovsky’s chamber music: the First Quartet and the Sextuor « Souvenir de Florence » – for this work, the musicians are joined by two guests, cellist Ophélie Gaillard and violist Lise Berthaud. These two works, which are like milestones in the career of the Russian composer (the first is written in 1871, the second in 1887), show Tchaikovsky’s inclination for popular melodies. Clarity and technique serving musical expression, the fiery strings of the Novus Quartet spread a warm sound that impresses by its homogeneity, intensely invites to melancholy in slow movements, and fully transcribed the exaltation of Tchaikovsky’s poetic universe. © Aparté
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Classical - Released June 2, 2017 | Aparté

Hi-Res Booklet
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Classical - Released June 2, 2017 | Aparté

Hi-Res Booklet
 Geminiani’s The Art of Playing on the Violin, op. 9 (published in English in 1751) give us a very precious glimpse of what was musical practice in the first half of the 18th century, then considerably in the grip of the Italian influence. The publication began with some 28 exercises, aimed at perfecting technical skills such as double stops, special bowing, arpeggios, chords, ornamentation, shakes, swelling and softening, staccato, scales galore etc., and finished with twelve “examples”, “twelve pieces in different styles for violin and cello with basso continuo for the harpsichord”. What he meant by different styles are dances (courante: no. IV, gavotte: no. VIII, gigue: no. XI), fugues in the style of Corelli’s sonatas (nos. I, II, VII; while nos. IX-XI could be considered a full-fledged sonata da chiesa) as well as slow pieces in the “pathetic” style. These last, full of affectation, are particularly evocative of opera arias. Violonist Gottfried von der Goltz plays these twelve examples using several ornamentation techniques as pinpointed by the composer himself in the exercises – according to the liner notes, this would even be a recording premiere, and quite astonishingly it seems this is really the case. The interpreter begins the recording with a free improvisation, like a kind of offhand praeludium, reminding us that Geminiani was known amongst his student as Il Furibondo. So as not to wary the listener, the recording makes use of various continuo combinations, what with harpsichord, theorbo or organ. Von der Goltz completes the album with two of the Twelve Sonatas op. 4 for violin and basso continuo, composed 1739, two pieces which stylistically make the link between the Italian style (Corelli, Vivaldi) and the French (Leclair, Boismortier), several years before the Quarrel of the Buffoons broke out – that moronic Parisian controversy concerning the relative merits of French and Italian music in general, opera in particular. © SM/Qobuz
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Classical - Released May 26, 2017 | Aparté

Hi-Res Booklet
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Classical - Released May 26, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released May 19, 2017 | Aparté

Hi-Res Booklet
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Classical - Released April 28, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
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Solo Piano - Released April 14, 2017 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - 4 étoiles Classica
Disciple of Vlado Perlemuter and Jean Hubeau, Michel Dalberto has stood out as a master and ardent defender of French music in the course of a forty-year career. His signature for the Aparté label of a series of recordings devoted to Debussy, Fauré, Ravel, and Franck marks his awaited return to discs. Each episode will be recorded live and accompanied by a video. This second release, recorded on a Bechstein piano at the Conservatoire d’Art Dramatique-Paris on 7 January 2017, honours Gabriel Fauré.
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Classical - Released April 7, 2017 | Aparté

Hi-Res Booklet Distinctions Diapason d'or
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Full Operas - Released March 24, 2017 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Gramophone Editor's Choice

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