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W. A. Mozart: Requiem in D Minor, K. 626

Jordi Savall

Classical - Released May 5, 2023 | Alia Vox

Hi-Res Booklet Distinctions Qobuz Album of the Week
Hearing rumours of great artists remastering their works several years after their release is sure to put you on your toes. Once the comparison between the different recordings is over, one is tempted to see them as snapshots of an aesthetic ethos, testaments to an artistic evolution. In this case, Jordi Savall offers us a fine gift: 30 years after his first version of the Requiem, here he is, conducting Mozart's masterpiece with an entirely new Concert des Nations. Savall’s gesture becomes all the more touching as he explains that it was motivated by a chance personal anecdote from when he was 14—his dazzling and unexpected confrontation with Mozart's quasi-testamentary work. In this new production, the Catalan master takes his obsession with detail and historically informed interpretation even further: from the exact Latin pronunciation employed in Vienna at the time, to the pitch 430, to the specific embouchures of the trombones. The ensemble also drew on the remarkable work of the musicologists Jean and Brigitte Massin. This Requiem is captivating in its fluidity. The soloists sparkle—the stunning soprano Rachel Redmond and the baritone Manuel Walser in particular. The choirs of the Capella Nacional de Catalunya form a solid rock with the Concert des Nations, each group embracing the asperities of the other in a play of contrasts and chiaroscuro touching on the mystery of Mozart's ambiguous relationship with the Christian faith. The recording culminates in the "Lacrymosa", which quietly devastates with its balance and the sensuality of its melodic lines. This new version is among the best in that it handles the mystery of Mozart's genius without ever distorting it. © Pierre Lamy/Qobuz
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Beethoven Révolution - Symphonies 6 - 9

Jordi Savall

Symphonies - Released January 7, 2022 | Alia Vox

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
Jordi Savall’s Concert des Nations concludes its Beethoven journey with the legend’s final four symphonies. They were recorded in Paris in the autumn of 2021 (the 6th and 7th Symphonies were recorded on October 5th, and the 8th and 9th Symphonies on October 15th), during the same period of time in which the orchestra played two concerts at the Philharmonie de Paris, consequently bringing to a close their complete concert series, which they’d been performing across two years.The finesse that graced their first volume, published in the summer of 2020, has been maintained in their second. These Beethoven pieces are alert and incisive - in accent, in rhythm and in articulation. Strangely enough, these symphonies, which were composed by Beethoven once he’d reached his musical maturity, have almost been arranged in a style that seems to allude to Haydn and Mozart at times. However, it’s clear that textures are becoming denser, and the orchestra is starting to make masterful use of their musical freedom - fans of the timpani will love this!What Beethoven invented in the early 19th century, in terms of timbre and new colours (particularly within Symphonies No.3 and No.4), was consolidated in his later work, transforming symphonic composition for a long time to come. The 7th is often considered the metaphorical Everest of his symphonic repertoire, not only for its choreographic essence (which has never since been found in this genre), but also for its joyous celebration of the true Beethoven spirit: compositional blocks joined together by polyphonic melodies, creating a weighty, triumphant sound. Jordi Savall has clearly focussed on Beethoven’s major impact on the history of music throughout the creation of this project. © Pierre-Yves Lascar/Qobuz
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Beethoven: Missa Solemnis, Op. 123

Jordi Savall

Classical - Released December 22, 2023 | Alia Vox

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With this recording of the Missa Solemnis, Jordi Savall and Le Concert des Nations bring to an end their “Beethoven Revolution” project, already consisting of the Symphonies in their entirety. Under the direction of this valiant 82 year-old, Beethoven’s masterpiece resounds more than ever as a hymn to peace and brotherhood.The Catalonian conductor sets fire to this score of gigantic proportions with a grip that could move mountains and a fervour capable of making even the most insensitive listener shed a tear. Under the direction of his exemplary and exalted expressivity, the Missa Solemnis is written into the timelessness of Mozart’s Requiem, all while demonstrating the power of Bruckner’s Te Deum in a stunning historical perspective.Recorded in May 2023 in Catalonia during a series of concerts also held in Paris, Barcelona, and Dresden, this version of the Missa Solemnis was poised from the outset to be one of the great recordings of this work, but in a distinctly personal way due to its expression of the pinnacle of pain, fear, and hope. Singing at the top of their lungs, the sensual voices of La Capella Nacional de Catalunya seem to be making a desperate plea to humanity in peril, rounded out by a quartet of excellent soloists: Lina Johnson, soprano, Olivia Vermeulen, mezzo-soprano, Martin Platz, tenor, and Manuel Walser, baritone. By drawing Beethoven’s piece alongside the world of great Spanish painting, Jordi Savall turns it into a drama whose chiaroscuro unveils an exceptional power that will leave no one indifferent. © François Hudry/Qobuz
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Beethoven: Révolution, Symphonies 1 à 5

Jordi Savall

Classical - Released July 17, 2020 | Alia Vox

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Jordi Savall’s Beethoven is bursting with life. The accents, rhythms and articulations are sprightly of course. But also in spirited, intelligent phrases, the accomplished orchestral balance cheerfully testifies to this (Adagio from the 4th). The tempos too are relatively measured but alluring. The secret of these Beethoven compositions is their dancing spirit, inherited from the dances of the 18th century, which brings a constant energy. Another way in which these works stand out is the revolution of timbres which inspired the Master of Bonn’s formal constructions, in the new registers (the development of brass instruments and notably horns, but also increased presence of timpani, etc.) and in the development of dense textures. All this is paired with a poetic, theatrical sound: these symphonies are hidden dramas. This is how Ernest Ansermet also saw it in the past and his complete Decca recordings bear the trace of this, despite a naturally different general aesthetic (Decca, 1958-1963, well worth rediscovering). Here, the 4th is bursting with audacity - it is perhaps the greatest of the first works of the genre in the Beethoven catalogue. Jordi Savall achieves a very beautiful ensemble, which very clearly sticks out above the rest in this year of Beethoven (2020), a year overflowing with rather unconvincing artistic proposals. © Pierre-Yves Lascar/Qobuz

Schubert Transfiguration: Symphonies Nos. 8 & 9

Jordi Savall

Symphonic Music - Released October 7, 2022 | Alia Vox

Booklet Distinctions Choc de Classica
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All Baroque roads lead to Romanticism, and Jordi Savall knows this all too well. His rendition of the Beethoven Symphonies revisits the original manuscripts, dynamics, tempos and instruments, and Savall enacts this same approach with Franz Schubert, who died a few months after the great German composer. With this recording, made in September 2021 in the collegiate church of Cardona in Catalonia, the valiant octogenarian brings his own spiritual vision to Schubert. This is further affirmed by the album’s title: Transfiguration.The Catalan violinist is, above all, a humanist and a lyricist, two qualities that resonate particularly well with the music and spirit of Franz. Savall graces us with a vision of the Unfinished Symphony that contemplates the infinite without ever feeling heavy, instead turning towards the inner light.Music served as a vessel for Schubert, an outlet for his existential pain. Throughout his work, which culminates in the Ninth Symphony in C major, the Viennese composer expresses his aspiration for a youth freed from the inexorable presence of illness. This zest for life finds a particular resonance here in Jordi Savall’s poignant vision of the last two symphonies. Savall provides much more than just another version, creating an interpretation that penetrates deep into the depths of Schubert's distress, whilst still maintaining the lively desire for brotherhood that also fills the composer's great creations. © François Hudry/Qobuz
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Mendelssohn: Italian Symphony

Jordi Savall

Classical - Released September 22, 2023 | Alia Vox

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Codex Las Huelgas

Jordi Savall

Classical - Released December 9, 2022 | Alia Vox

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Venezia Millenaria

Jordi Savall

Classical - Released December 8, 2017 | Alia Vox

Hi-Res Booklet Distinctions Gramophone Editor's Choice
From 700 to1797, the Serenissima independence had a long life from its blurry beginnings up until the Treaty of Campoformio in 1797 which bound together the Republic of Venice to Italy. This millenium is musically illustrated by Jordi Savall on his latest work. He has surrounded himself by his own troops: the Hespèrion XXI, the Capella Reial de Catalunya, the Concert des Nations, as well as numerous "guest stars" from all over the Mediterranean. The history of Venice is known to alternate between times of economic, political and military prosperity, as it found itself under threat by hostile armies from the Ottoman Empire, France, Spain and the House of Austria. We hear an Orthodox vocal ensemble from Thessaloniki, the Jewish cantor Lior Elmaleh, Orient Musicians for all the Arabic, Moorish and Ottoman influences, and Haïg Sarikouyoundjian for Armenia in this extraordinary compilation. The works range from Byzantine songs to a fairly quirky adaptation of Beethoven signed by Luigi Bordese - a four-part male choir and organ with a text by Adolphe Joly. Not forgetting Mozart’s Turkish March which is deliciously rewritten by Savall, or even the classical Ottoman musicians Monteverdi and Vivaldi, as well as Rosenmüller (who worked for a long time in Venice, after having to flee Leipzig from a grim story involving young boys… less of a scandal in Venice it seemed…), Janequin illustrating Marignan, Dufay and his Fall of Constantinople, the Crusades and the songs that followed, in short, everything that you could imagine. A sumptuous document explaining the ins and outs of the whole matter. © SM/Qobuz
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François Couperin: Les Nations

Jordi Savall

Classical - Released September 21, 2018 | Alia Vox

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Les Eléments (Tempêtes, orages et fêtes marines)

Jordi Savall

Classical - Released January 29, 2016 | Alia Vox

Hi-Res Booklet Distinctions 5 de Diapason
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Cancioneros del Siglo de Oro (Colombina- Palacio- Medinaceli 1451-1595)

Jordi Savall

Classical - Released April 15, 2022 | Alia Vox

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François Couperin: Les Apothéoses

Jordi Savall

Classical - Released January 1, 1987 | Alia Vox

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This new reissue of the famous recording made in 1985 at Radio France offers us a sumptuous reunion with a cast of performers who have become true "stars" of the Baroque over time. Jordi Savall was to reach the top of the charts and win international recognition six years later with his soundtrack for Alain Corneau's film Tous les matins du monde, based on a story by Pascal Quignard about the violinist and composer Marin Marais and his master Monsieur de Sainte-Colombe, played by Gérard Depardieu and Jean-Pierre Marielle respectively.The other musicians on this recording were also to excel: violinist Monica Huggett has become one of the leading lights of the baroque violin, notably as concertmaster of the Royal Academy of Music and then as a teacher at the prestigious Juilliard School in New York. Chiara Banchini had great success playing that same instrument with Ensemble 415, which she founded in 1981 and with which she made numerous recordings for harmonia mundi. Shortly after this performance, harpsichordist Ton Koopman recorded the complete cantatas of Johann Sebastian Bach with his Amsterdam Baroque Orchestra, and the American Hopkinson Smith enchanted the world with his lute, vihuela, theorbo and baroque guitar.François Couperin's two Apotheoses are a splendid tribute to Lully and Corelli, two composers he loved above all else and whom he imagines finding again through death by the grace of music, with a vibrant tribute mixing Italian and French tastes. This landmark recording has lost none of its charm. © François Hudry/Qobuz
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La Folia 1490-1701

Jordi Savall

Classical - Released January 1, 1998 | Alia Vox

Distinctions Choc du Monde de la Musique - 10 de Répertoire - Recommandé par Classica - 4F de Télérama - Cannes Classical Music Award
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Handel: The Messiah, HWV 56

Jordi Savall

Classical - Released November 22, 2019 | Alia Vox

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A tireless researcher of ancient and baroque music across all continents, Jordi Savall hadn't ever tackled Handel's Messiah before a series of five concerts in Dole, Besançon, Paris, Barcelona and Versailles in December 2017. And it's that latter concert which features on this new album. In it, we find the Concert des Nations with Manfredo Kraemer as the concertmeister and the faithful instrumentalists of La Capella Reial de Catalunya. Savall assembled a team of soloists with Rachel Redmond, soprano, Damien Guillon, countertenor (who sings parts originally written for a woman's voice), Nicholas Mulroy, tenor and Matthias Winckler, bass. This project was made possible thanks to a Franco-Spanish collaboration. The project matured in the beautiful and historic surroundings of the Royal Saltworks of Arc-et-Senans, before taking off for a tour of the two countries and winding up as a Christmas present for many fans of Catalan music. © François Hudry/Qobuz
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Maestros del Siglo de Oro

Jordi Savall

Classical - Released March 30, 2018 | Alia Vox

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Bach : Ouvertures BWV 1066-1069

Jordi Savall

Classical - Released January 1, 1991 | Alia Vox

Hi-Res Booklet Distinctions Choc de Classica
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Bach - Vivaldi : Magnificat & Concerti

Jordi Savall

Classical - Released December 1, 2014 | Alia Vox

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Gluck: Don Juan - Semiramis

Jordi Savall

Classical - Released June 10, 2022 | Alia Vox

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For this new recording, Jordi Savall and his Concert des Nations focus on two ballets by German composer Christoph Willibald Gluck, a trailblazer in the world of opera and ballet music. He penned almost a dozen scores, though some of these have unfortunately been lost. Don Juan or The Feast of the Stone is a three-act ballet-pantomime composed in Vienna in 1761. With its innovative instrumentation and dramatic power, this work is particularly striking. In fact, the young Beethoven would later utilise it for his great ballet, based on the mythological Prometheus. With musical content that hinted at the reform that Gluck would later introduce to his operas, the score of Don Juan (which was written twenty-six years before those of Gazzaniga and Mozart) deviates from the kind of ballet that was popular at the time, introducing the famous “Sturm und Drang” (“Storm and Passion”) that would go on to take the world of music by storm. Four years later in the very same city of Vienna, Gluck presented a new ballet: Semiramis. This piece took the reform that had been introduced in Don Juan and totally enhanced it. The close link with Voltaire’s tragedy meant that the dance wasn’t given a purely aesthetic role. Thus, the dancers were given the ability to explore completely new forms of physical expression. © François Hudry/Qobuz
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J. S. Bach: Weihnachts-Oratorium

Jordi Savall

Classical - Released December 11, 2020 | Alia Vox

Hi-Res Booklet
With this new recording of Bach's Christmas Oratorio, recorded live in Barcelona in 2019 in the Palau de la Musica Catalana, a jewel of Catalanian modernist architecture, Jordi Savall offers us an eminently Latin vision of this vast fresco by the great German composer.Prepared by Lluis Vilamajó, the Capella Reial de Catalunya's fruity, full-bodied voices offer a beautifully sensual rendering of Bach's universal message. The solo voices are naturally of the same quality and include, among other treats, the powerful androgynous alto voice of countertenor Raffaele Pe or that of the radiant tenor Martin Platz as Evangelist. The mystery of Christmas is given a humanity that is further enhanced by the heady timbres of the instruments, especially the flutes, oboes, oboes d'amore, English horns and a lush continuo. The generous acoustics (generous to the point that they sometimes create some confusion in the tutti) in the Palau de la Musica contribute to the beauty of the ensemble, and build a joyful and healthy fervour.It should be remembered that, for his Christmas Oratorio, Bach, as was his custom, had brought in passages from his earlier works at a time when what had already been composed was rarely performed again. But Bach's genius has unified these six cantatas, some of whose music is derived from earlier sacred and secular works. The seams are invisible and the garment appears to us in all its coherence and splendour. © François Hudry/Qobuz
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Altre Follie (1500-1750)

Jordi Savall

Classical - Released January 1, 2005 | Alia Vox

Distinctions 5 de Diapason - 4 étoiles du Monde de la Musique - 9 de Classica-Répertoire