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Camille & Julie Berthollet

Camille Berthollet

Classical - Released October 28, 2016 | Warner Classics

Hi-Res Booklet
This debut recital by teenage sisters Camille and Julie Berthollet (Camille plays both violin and cello, Julie the violin) consists of light music, but has an exuberant, fearless quality that suggests deeper things to come. The sisters arrange the program in the manner of a 19th century concert for the general public, with an orchestra trading tracks with a piano in the accompanist slot and a gleeful mix of familiar tunes, ethnic dances, folk-like melodies (here extended forward to Gershwin, whose Summertime gets a highly novel treatment), and movements of serious trios by Schubert, gorgeously played. This would all be enough in itself, but the real fun comes from the constantly shifting roles of the solo violins and cello, variously deployed in arrangements that have in some cases been around for a while (the Gluck tune appears in a setting by Fritz Kreisler), but have never been put together in quite this way. Sample the Paganini Caprice No. 24 and enjoy the deconstruction of Paganini's solo violin work into material for two violins and orchestra. The cleverness with which the whole program is put together belies the lightness of the material, and these are definitely young musicians to watch. Highly recommended.© TiVo
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Der Tod und das Mädchen & Songs

Goldmund Quartet

Classical - Released May 26, 2023 | Berlin Classics

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Air: The Bach Album

Anne Akiko Meyers

Classical - Released February 14, 2012 | eOne Music

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This release by California violinist Anne Akiko Meyers looks both backward and forward. Meyers' playing is a throwback to a style of Bach playing that was common a couple of generations ago but isn't much heard anymore: flowery, heavy on the vibrato, a bit sentimental, with moments of slight tempo rubato in both the violin and the orchestral accompaniment of the English Chamber Orchestra (which was always the go-to group for this style) under Steven Mercurio. The novelty factor here involves the magic of overdubbing, which has been commonplace in pop since Patti Page's hits of the 1940s but is still a rarity in classical music: Meyers uses a pair of Stradivarius violins in the Concerto for two violins, strings, and continuo in D minor, BWV 1043, playing both herself. Whether or not you are fully on board with these approaches, you're likely to agree that Meyers executes them both quite well. Her pitch is precise in the Violin Concerto in A minor, BWV 1041, and she pulls on the heartstrings in the arrangements of the so-called Air on a G string from the Orchestral Suite No. 3 in D major, BWV 1068, and the Bach/Gounod Ave Marie. But the real attraction is the Double Concerto, where Meyers makes the most of her two violins, the "Molitor" of 1697 (the violin I part) and the "Royal Spanish" of 1730. The latter has a slightly rougher tone that Meyers deploys very effectively in its lower register. Though it's not everyone's cup of tea, this recording has met with well-deserved commercial success. © TiVo
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Liszt: Harmonies poétiques et religieuses

Saskia Giorgini

Solo Piano - Released December 11, 2021 | PentaTone

Hi-Res Booklet
Introspective music of ravishing beauty. After two song albums together with Ian Bostridge, pianist Saskia Giorgini presents Franz Liszt’s Harmonies poétiques et religieuses. Liszt is often seen as a showman, but much of his music reveals his introspective, searching nature. This is demonstrated above all in Harmonies poétiques et religieuses, one of his most ambitious, contemplative and enigmatic compositions, inspired by Lamartine’s eponymous poetry, Liszt’s Roman Catholic faith as well as the 1848-1849 revolutions. To Giorgini, “this music is deeply humane and sincere, tender, but also full of the most sorrowful, violent, painful moments that Liszt ever put into music”. Its ten movements constitute a quest for the deeper meaning of human existence, clothed in music of ravishing beauty. Saskia Giorgini is one of the most promising pianists of her generation, who has won several competitions and is hailed for her technical command and the beauty and poetry of her sound. © Pentatone
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Piazzolla: Works for Flute & Guitar

Kazunori Seo

Chamber Music - Released October 8, 2021 | Naxos

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The combination of flute and guitar was a feature of early tango recordings – instruments central both to the genre and to the music of Astor Piazzolla. The composer’s quintessential Histoire du Tango charts the form’s evolution from its appearance in the barrios of Buenos Aires to its eventual assimilation by classical composers. The Six Études tanguistiques for solo flute is Piazzolla’s only work for a melodic unaccompanied instrument. The remainder of the programme presents a sequence of arrangements by Vicente Coves and Kazunori Seo and includes some of Piazzolla’s most famous and beautiful compositions as well as preserving a historically important, previously unreleased recitation by Horacio Ferrer. © Naxos
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MillésimeS Live 2013/14

Pascal Obispo

French Music - Released October 6, 2014 | Po Productions

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In the Christmas Mood II

Glenn Miller & His Orchestra

Jazz - Released October 20, 1993 | WBLT, LLC.

A second Christmas CD from Miller's orchestra, this one continues in the tradition of the first CD. In fact, it even includes a few pieces that were also on that one. Although recorded after the death of Glenn Miller himself, his orchestra does a great job of capturing the sound that made the band so famous as they make their way through many holiday classics. They turn them into wonderful swing arrangements that serve to both entertain fans of the genre and add holiday spirit to your home. © Gary Hill /TiVo
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Liszt: Harmonies poétiques et religieuses III, S. 173

Adam Tendler

Classical - Released October 1, 2021 | Steinway and Sons

Hi-Res Booklet
Performed here by pianists Jenny Lin and Adam Tendler, Liszt’s rarely heard Harmonies poétiques et religieuses is a sublime example of Liszt’s early compositions. Lin and Tendler alternate movements of this monumental piano cycle. “Few performers are willing to take on not only its daunting scale but also its grueling restraint - a cohesion held together in a delicate tension of wild Romanticism and controlled transparency. Mr. Tendler and Ms. Lin aren’t typically associated with Liszt, or 19th century music at all. But, to them, that’s part of the fun. It didn’t take long for them to see just how modern Harmonies poetiques et religieuses can be” (The New York Times) © Steinway and Sons
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Camille & Julie Berthollet

Camille Berthollet

Classical - Released October 28, 2016 | Warner Classics

Booklet
This debut recital by teenage sisters Camille and Julie Berthollet (Camille plays both violin and cello, Julie the violin) consists of light music, but has an exuberant, fearless quality that suggests deeper things to come. The sisters arrange the program in the manner of a 19th century concert for the general public, with an orchestra trading tracks with a piano in the accompanist slot and a gleeful mix of familiar tunes, ethnic dances, folk-like melodies (here extended forward to Gershwin, whose Summertime gets a highly novel treatment), and movements of serious trios by Schubert, gorgeously played. This would all be enough in itself, but the real fun comes from the constantly shifting roles of the solo violins and cello, variously deployed in arrangements that have in some cases been around for a while (the Gluck tune appears in a setting by Fritz Kreisler), but have never been put together in quite this way. Sample the Paganini Caprice No. 24 and enjoy the deconstruction of Paganini's solo violin work into material for two violins and orchestra. The cleverness with which the whole program is put together belies the lightness of the material, and these are definitely young musicians to watch. Highly recommended.© TiVo
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Saint-Saëns: Oratorio de Noël

Antonia Bourve

Classical - Released January 1, 2006 | Carus

Saint-Saëns' Oratorio de Noël, written when the composer was 25, is scored for five soloists, choir, strings, harp, and organ. It's drenched in warm Romanticism, but its roots in Baroque and Classical traditions are easy to hear, as in the sacred music of Mendelssohn, which it stylistically resembles. It begins with a lovely, Bachian pastorale that sets the tone of reverence and transcendence that suffuses the whole work, and which returns at the end. Only its second movement, a recitative, deals with the Biblical nativity story; the remaining movements, with texts largely taken from the Psalms, praise God in mostly general terms. Musical highlights include the Benedictus for soprano, baritone, harp, and organ and the radiant, ethereal "Tecum principium," a trio for the same ensemble, plus tenor. The Oratorio is a hugely attractive piece that reveals Saint-Saëns' mastery of shapely vocal lines, graceful contrapuntal choral writing, and gently evocative tone painting -- it's a piece that should appeal to anyone who loves nineteenth century choral music. The CD also includes six of the composer's smaller instrumental, choral, and vocal liturgical pieces that demonstrate the same virtues and values of the Oratorio. Holger Speck leads the Vocalensemble Rastatt and the instrumental ensemble Les Favorites in warm and idiomatically sensitive performances, and the soloists sing with admirable purity and delicacy. Carus' balance is ideal, but the sound in the louder passages gets a little bright, almost shrill. © TiVo
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Schubert & Burgmüller: Works for Arpeggione

Lorenz Duftschmid

Chamber Music - Released August 5, 2022 | CPO

Hi-Res Booklet
Franz Schubert's so-called Arpeggione Sonata owes its peculiar name to a long-forgotten string instrument that was usually referred to in Vienna in the 1820s as the "bowed guitar" or "guitar-violoncello". It was an invention of the Viennese instrument maker Georg Stauffer and was quite popular for about a decade. After that, it disappeared into the annals of history. If Schubert had not dedicated his famous sonata to the instrument, the arpeggione would have been long forgotten. But this way, the memory of the instrument was kept alive. To complement the great Arpeggione Sonata, soloist Lorenz Duftschmid has recorded five Schubert songs in instrumental versions (the poems in question are recited before the instrumental version in each case) as well as three Nocturnes by an almost forgotten Romantic from the Rhineland: Friedrich Burgmüller. His Trois Nocturnes, available in various versions, sound most beautiful and full of emotion on arpeggione and guitar, the two instruments so closely related. © CPO
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Beautiful Relaxing Piano & Harp Music

Noble Music Classical & Fall Asleep Noble Music

Classical - Released March 2, 2022 | 貴族唱片股份有限公司

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20 Chansons D'or

Luis Mariano

Pop - Released November 9, 1998 | Parlophone (France)

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