Albums

1409 albums sorted by Date: from newest to oldest
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Classical - To be released November 24, 2017 | harmonia mundi

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Classical - To be released November 24, 2017 | harmonia mundi

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World - Released November 17, 2017 | harmonia mundi

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Classical - Released November 10, 2017 | harmonia mundi

Hi-Res Booklet
From the outset it should be said that this – sumptuous – album of Monteverdi’s Selva morale e spirituale (literally Moral and Spiritual Forest) doesn’t feature the complete collection of some forty titles contained in the master’s last work published in 1640, but rather a carefully minded selection of fifteen titles to provide the broadest possible overview of the various styles as well as melodic and choral genres approached by Monteverdi, with indeed a penchant for the sacred. A complete collection would have required three to four hours… Let’s get to the point: Pablo Heras-Casado’s reading at the head of the Balthasar Neumann Choir and Ensemble is absolutely stunning, allowing ample room for the vocal and instrumental colours (because Monteverdi quite specifically described the instrumentations and alternations between vocals and instruments) and sound layers so specific to the Venetian language. Undoubtedly Heras-Casado has proven to be not only an excellent symphonic conductor, but also that he fully understand the art of vocals and the writing of the Renaissance. © SM/Qobuz
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Classical - Released October 27, 2017 | harmonia mundi

Hi-Res Booklet
1791: a busy year for Mozart who, when he received a commission for a Requiem, was already working on Die Zauberflöte and had a deadline to deliver La clemenza di Tito. Everyone knows what happened next: the commission postponed, exhaustion and death, a work left unfinished and which, after several composers were approached, was finally completed by Süssmayr. This version gradually became established as the closest to Mozart’s intentions, but is not free of faulty part-writing and orchestration. In 2016 a young French composer, Pierre-Henri Dutron, persuaded René Jacobs to perform his own revision of the Requiem completed by Süssmayr. This new version was created with great success in a series of five concerts around Europe in November 2016. © harmonia mundi
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Classical - Released October 20, 2017 | harmonia mundi

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Classical - Released October 13, 2017 | harmonia mundi

Hi-Res Booklet
Bach (Johann Sebastian, that is) or not Bach? This is the question that the violinist Amandine Beyer and the ensemble Gli Incogniti asked themselves by seizing a handful of works long thought to be from the Kantor and that we now know to be from other composers—known, identified or not. Thus, the Sonata BWV 1024 may have “ended up” in Bach’s repertoire because a musicologist knew how to use the right scientific arguments (paper, copyists, geographical and historical contexts) to achieve his goal. The style of the composition, which admittedly is a bit reminiscent of Bach, cannot however quite fall in line with the musician’s writing style. Therefore, in order to avoid the sonata disappearing back into anonymity, it has now been attributed to Pisendel, rightly or wrongly. The Trio BWV 1036 is from Carl Philipp Emanuel Bach—we were always quite sure of that, even if some less scrupulous releases have omitted the first name… The Trio BWV 1037 seems to be from Goldberg (the one from the Variations). The Suite in A major BWV 1025 is of somewhat ambiguous paternity, but it’s actually an arrangement Bach created for violin and harpsichord using the Suite SC 47 for lute that his friend and colleague Silvius Leopold Weiss composed. These are a few works that, after long being in the paradise of being attributed to Bach, are now in the hell of the “fake”, even if it’s not the fault of the composers that wrote them! What a pity… © SM/Qobuz
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Classical - Released September 22, 2017 | harmonia mundi

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Classical - Released September 22, 2017 | harmonia mundi

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Classical - Released September 22, 2017 | harmonia mundi

Hi-Res Booklet Distinctions 4F de Télérama
The theatres of London were vital centres for Restoration music after the return of the Stuart monarchy, following the fall of Cromwell's puritan dictatorship. Reinvigorated by the arrival of women actors and sumptuous decoration, they attracted a broad audience, which had been starved of entertainment after the years of religious rigour and the virtual ban on public performances. The most sought-after composer of the period was Locke, whose experience in this field went back into the Cromwell years. While Puritans did close theatres, some pieces had been able to overcome the ban, like the masque Cupid and Death set to music by Gibbons, which was played for the Portuguese ambassador in 1657 - then again in 1659, with additional music by Locke. When the theatres re-opened in 1660, there was a demand for music for every play, but more as an ornament than as an integral part of the plot. Each one required a series of airs and instrumental pieces to be played at the start and between each act. Locke wrote more than twenty airs of this type, although they can't be pinpointed to any specific plays. Most of his stage music, like Curtain Tune and Lilk, survive in various manuscripts from the period, and comprises stage music for plays performed in the final decade of the 17th Century. These are the inter-act pieces, airs or "curtain-raisers" which Bertrand Cuiller's Caravansérail ensemble plays here - Cuiller, remember, learned the harpsichord with Pierre Hantaï and Christophe Rousset. His last solo album, Rameau's complete works for harpsichord, was declared Classica's Shock of the Year 2015. The airs here are sung by Scottish soprano Rachel Redmond, a great performer of baroque music.
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Classical - Released September 22, 2017 | harmonia mundi

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Classical - Released September 22, 2017 | harmonia mundi

Hi-Res Booklet
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Classical - Released September 22, 2017 | harmonia mundi

Booklet
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Vocal Music (Secular and Sacred) - Released September 22, 2017 | harmonia mundi

Hi-Res Booklet Distinctions 4 étoiles Classica
The six young singers of the Academy of Le Jardin des Voix, selected from several hundred candidates, offer us a musical journey through some of the finest pieces in the Italian repertory, from a Banchieri madrigal to Haydn’s Orlando paladino. Thanks to an outstanding training programme and the musical values transmitted by William Christie and Paul Agnew, here is a chance to discover both some splendid vocal gems and a group of new performers who honour them with talent, grace and humour. Sheer delight! © harmonia mundi
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Classical - Released September 8, 2017 | harmonia mundi

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