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J'écoute Bach et Haendel avec ma maman

Anne Queffélec

Classical - Released December 3, 2012 | Mirare

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Bach Up

Dimitri Naïditch

Jazz - Released November 15, 2019 | Dinaï Records

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Passions de l'âme et du cœur

Ricercar Consort

Classical - Released January 12, 2015 | Mirare

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Bach : Contemplation

Anne Queffélec

Classical - Released January 8, 2009 | Mirare

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Joseph Haydn : Cello Concertos

Freiburger Barockorchester

Cello Concertos - Released March 27, 2003 | harmonia mundi

Booklet Distinctions Choc de Classica
This admirable Harmonia Mundi release presents Franz Josef Haydn's two cello concertos and the Cello Concerto in G minor by Georg Matthias Monn with the luster of period instruments; refined, idiomatic playing; and exceptional sound quality, with full resonance; and cellist Jean-Guihan Queyras and the Freiburg Baroque Orchestra, directed by Petra Müllejans, render these works with exquisite details and emotional depth. In a real sense, their performances are acts of rediscovery, for Haydn's cello concertos have become routine fare from too many modern renditions, and Monn's piece is unfamiliar from too few performances. Indeed, all three concertos have suffered the vagaries of preservation and interpretation. Haydn's Cello Concerto No. 1 in C major was once considered lost until its discovery in 1961; the Cello Concerto No. 2 in D major suffered false attribution and its authorship was debated until the appearance of the manuscript in 1954; and Monn's concerto survived only in an arrangement for harpsichord and strings until Arnold Schoenberg edited it in 1912. To set the record straight, this disc presents the concertos intelligently refurbished, with appropriate eighteenth century style and color. Through their insightful scholarship and sensitive performances, Queyras and Müllejans have produced a fine alternative to the less authentic mainstream recordings.© TiVo
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C.P.E Bach: Concerto pour piano, cordes et basse continue en ré mineur

Christian Zacharias

Miscellaneous - Released April 17, 2020 | XXI Music

Carl Philipp Emanuel Bach was admired and often cited as an example by Haydyn, Mozart and Beethoven, but just like these three musicians he too struggled to find an audience for his music. As one of Johann Sebastian’s sons, he was a custodian of his father’s rather daunting legacy. The composer dates back to the beginning of the classical area but his music already seemed to show hints of romanticism. The very essence of his music and his originality has been considered as a “theatre of the soul” (Gilles Cantagrel) – the emotional staging of the music interspersed with surprises and sudden modulations, fiercely dynamic oppositions and silences sometimes heavy with anguish. Like all the artists of his time, Carl Philipp was a prolific composer and wrote nearly fifty concertos for the harpsichord, which was his favourite instrument, along with the clavichord on which he took great pleasure in improvising for hours at a time. Christian Zacharias is familiar with the composer and has already devoted several recordings to his work. For this concert in November 2019 with the Auvergne National Orchestra, who he conducts from behind his own instrument, he selected the Concerto in D minor, Wq. 23, H. 427. It is a piece which illustrates the innovativeness of Carl Philipp Emanuel Bach’s style perfectly, particularly in the Poco Andante, whose expressive effusion prefigures Mozart’s greatest concertos. The extraordinary Rondo in C minor with its harmonic instability is featured as an encore and takes us to right to the edge of the abyss before leaving us there with its question-like inconclusive ending. A musical style that seemingly initiates and embodies the “Age of Sensibility” to which Hadyn and Mozart later greatly contributed. © François Hudry/Qobuz
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Wilhelm Friedemann Bach: Concertos pour clavecin et cordes

Maude Gratton

Classical - Released October 2, 2015 | Mirare

Hi-Res Booklet Distinctions 4F de Télérama - Gramophone Editor's Choice
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Johann Sebastian Bach : Œuvres pour clavier

Christophe Rousset

Classical - Released November 4, 2010 | Aparté

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Choc Classica de l'année
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Bach : Variations Goldberg & Concerto pour clavier No. 1 (Diapason n°580)

Glenn Gould

Classical - Released June 25, 2009 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Bach minimaliste

La tempête

Classical - Released August 25, 2023 | Alpha Classics

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The analogy of Baroque music, especially Bach with his intense focus on repeated motivic work, with the minimalists has been made before, and it is not entirely convincing. The resemblance is vivid enough on the surface but is ultimately superficial, for Bach was -- to borrow a word from Milton Babbitt -- a maximalist. What the concept needs is to be bulked up, so to speak, with works that are related both to Bach and the minimalists, and that is what the early music group La Tempète and conductor Simon-Pierre Bestion offer here, with Bach and John Adams' Shaker Loops at the poles. Shaker Loops, the Bach Harpsichord Concerto in D minor, BWV 1052, and the Harpsichord Concerto, Op. 40, of Henryk Górecki, are broken up into individual movements (Bach's concerto is missing its slow movement, too). This is questionable, for Bestion's idea is strong enough to hold up without distorting the source material like this, but it does allow for startling juxtapositions like that of Bach's finale with the second movement of the Górecki. Elsewhere, there are neo-Bachian works by composer Knut Nystedt and the Litanies of Jehan Alain, arranged for harpsichord and orchestra. At times, the program seems close to going off the rails, but one is also left with the feeling that Bestion is on to something original. Stimulating, at the very least.© James Manheim /TiVo
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Les Visiteurs: Ils ne sont pas nés d'hier ! (Bande originale du film)

Eric Lévi

Film Soundtracks - Released August 20, 1993 | Gaumont

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Bach : The Well-Tempered Clavier, Book 1

Christophe Rousset

Classical - Released March 18, 2016 | Aparté

Hi-Res Booklet Distinctions Choc de Classica
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50 Bach Treasures by Naïve

Anne Gastinel, Karol Teutsch, Hopkinson Smith, Rinaldo Alessandrini

Classical - Released September 1, 2017 | naïve classique

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Haydn : L'Impatiente

Julien Chauvin

Classical - Released October 4, 2019 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
The Haydn series continues with the Paris Symphony No. 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening to Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians – and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The record offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué, and to revive the success that they once knew. © Aparté
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J.S. Bach: The Well-Tempered Clavier - Book two (Édition 5.1)

Christophe Rousset

Classical - Released November 4, 2013 | Aparté

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Play Bach N. 1

Jacques Loussier

Jazz - Released January 1, 1959 | Decca

Distinctions The Qobuz Ideal Discography
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Concertos pour claviers

Jean-Pierre Wallez

Classical - Released September 24, 2007 | Warner Classics

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After Bach

Brad Mehldau

Jazz - Released March 9, 2018 | Nonesuch

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Jazz
Without being a mandatory baptism of fire, Jean-Sébastien Bach has always been a captivating magnet for many jazz musicians. So much so that people like Jacques Loussier, Keith Jarrett, the Modern Jazz Quartet, Dan Tepfer or Edouard Ferlet to name but a handful, all tackled head on, and for good reason, the work of the Cantor of Leipzig . The choice made by Brad Mehldau is a hybrid. The American pianist does not create here a jazz album strictly speaking - fans of "Jazzy Bach" can go home straight away - but he mixes themes of Bach - four preludes and a fugue - to personal and contemporary pieces; as intriguing answers or mirror games to original works. The exercise is all the more interesting because part of Bach's work took the form of improvisation. As for Mehldau, his style, but also his compositions, have always contained elements echoing the German composer. We know the rhythmic force of Bach's writing that appeals to jazz musicians. But here, the pianist has thought through his record in its entirety, never trying to separate his works from that of the other. The result is therefore confusing at first (especially for those familiar with the preludes and fugues of the original) but fascinating above all else. Because After Bach is anything but an impressive show of class (Brad Mehldau does not need that much, his virtuosity as a great no longer needs to be proven) but rather an exciting reflection on the life of a score through the centuries. © Marc Zisman/Qobuz
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Machaut: The Fount of Grace

Orlando Consort

Classical - Released July 7, 2023 | Hyperion

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The Well Tempered Piano, Vol. I

Alexandra Sostmann

Classical - Released November 3, 2023 | Prospero Classical

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