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J'écoute Mozart et Haydn avec mon papa

Iddo Bar-Shaï

Classical - Released December 3, 2012 | Mirare

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Reynaldo Hahn

Quatuor Tchalik

Chamber Music - Released November 13, 2020 | Alkonost Classic

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Mozart: Horn Concertos & Bassoon Concerto

Louis-Philippe Marsolais

Classical - Released March 1, 2017 | ATMA Classique

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Haydn: Quatuors à cordes

Quatuor Ébène

Chamber Music - Released October 2, 2005 | Mirare

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Haydn: Quatuors à cordes

Quatuor A. Modigliani

Classical - Released May 29, 2008 | Mirare

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Joseph Haydn: Intégrale des Sonates pour Piano et violon

Marie-Claudine Papadopoulos

Classical - Released April 20, 2019 | Les Belles Ecouteuses

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Mozart: Piano Four hands (Édition 5.1)

Guillaume Bellom

Classical - Released April 7, 2014 | Aparté

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Mozart: Sonates pour pianoforte avec l'accompagnement d'un violon

Stéphanie Paulet

Classical - Released November 6, 2015 | HORTUS

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Dance!

Daniel Hope

Classical - Released February 2, 2024 | Deutsche Grammophon (DG)

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Violinist Daniel Hope's publicity for this 2024 release promotes it as "[t]racing the history of Western dance from medieval times to the 20th century." It is true that the double album includes music of many eras, from traditional pieces to the 20th century, but this formulation fails to capture the mood achieved here by the always crowd-pleasing Hope. All his selections are short, and for the most part, they jump across the centuries rather than being chronological. Hope both plays and conducts the Zürcher Kammerorchester, and the overall effect is kaleidoscopic, like one of those concerts where pieces follow one another as if in a medley, with lighting effects to match. A double album of short pieces may seem a lot, but this is Hope's point; he seeks to expose the variety of dance rhythms that course through Western classical music, in which dance is not usually thought to play a very significant role. The album is a great deal of fun, with Hope alternately picking up his violin and laying it aside and veering from Baroque dances to Florence Beatrice Price's jazzy "Ticklin' Toes" (it is good to hear her music showing up on non-U.S. releases). In the end, the energy in this big group of 42 pieces never flags.© James Manheim /TiVo
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Mozart: Sonatas for Fortepiano & Violin, Vol. 3

Isabelle Faust

Classical - Released May 21, 2021 | harmonia mundi

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By modifying the balance of the dialogue between the two protagonists, whom he turns into genuine alter egos, Mozart leads the genre of the sonata for fortepiano and violin onto the road to modernity. Isabelle Faust and Alexander Melnikov present here the third volume of an exciting complete set on period instruments. Their playing, showing "great elegance and utter rigour", is distinguished by "a tender and delicate expressiveness served by exceptionally subtle nuances" (Classica). © harmonia mundi
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Mozart: Complete Piano Sonatas

Yeol Eum Son

Classical - Released March 17, 2023 | naïve

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Mozart: The Violin Concertos

Julia Fischer

Concertos - Released January 25, 2019 | PentaTone

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Bacchanale: Saint-Saëns et la Méditerranée

Orchestre Divertimento

Classical - Released March 24, 2023 | harmonia mundi

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The Orchestre Divertimento and its conductor, Zahia Ziouani, often juxtapose European repertory with music from other parts of the world. Ziouani, who is of Algerian background, has a particular interest in the music of that country. She could not have found a composer whose works were more congenial to such a project than Camille Saint-Saëns, who visited Algeria no fewer than 18 times and composed a Suite algérienne, Op. 60, that is heard here, broken up and interspersed with Arabic music. What makes Ziouani's project unique is that there are not two types of music here but three. Many of the Saint-Saëns works are preceded by improvisations in the classical Arabic idiom, on oud, qanun, a traditional viol, derbouka, and the riqq drum. These are quite a musical distance from Saint-Saëns, but Ziouani introduces contemporary Arabic songs, of a semi-popular nature, as an intermediate step. The sets are mostly in related tonalities. This is an ingenious idea that sheds light on both Saint-Saëns, on what he heard when he heard Algerian music, and on the nature of contemporary popular traditions that are rooted in the classical music of the world. The Saint-Saëns performances themselves are entirely creditable, and the album is well recorded at a couple of different locations. A unique release that makes one want to hear more from this distinctive ensemble. © James Manheim /TiVo
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Le Concert des Oiseaux. Vincent Bouchot: Le Carnaval des animaux en péril

La Rêveuse

Classical - Released February 10, 2023 | harmonia mundi

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Several famous pieces of music based on birdsong appeared in the 19th and 20th centuries; those by Saint-Saëns, Britten, and Ravel are here, although Messiaen is not. However, the affinity between music and birdsong had been explored for centuries before that, and the early music group La Rêveuse here provides some delightful examples. The always pictorial François Couperin is represented, as is Rameau, but other composers are less familiar but no less charming. Sample the works by Theodor Schwartzkopff, Michel Blavet, and especially Michel Pignolet de Montéclair (1667-1737), whose "Les Ramages" ("The Songs") names a group of birds and then illustrates their songs. Then there are historical-instrument versions of Saint-Saëns, Britten, and Ravel. One may accept this idea or not, but even in the latter case, they don't do much to dent the charm of the whole. The program ends with a work by contemporary composer Vincent Bouchot, Le Carnaval des animaux en péril, a kind of a take-off on Saint-Saëns for the Anthropocene era that also calls forth a striking variety of instruments from La Rêveuse. Another questionable idea is that, in keeping with the practices of this group, recorded birdsong is heard between some of the tracks. Whatever aspects of this release might be doubtful, it rarely fails to bring a smile. © James Manheim /TiVo
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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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W.A. Mozart : Violin Concertos 1-5 - Sinfonia Concertante, K.364

Thomas Zehetmair

Classical - Released January 1, 2008 | Glossa

Distinctions 9 de Classica-Répertoire
Because Wolfgang Amadeus Mozart composed his five violin concertos in his youth, between 1773 and 1775, it is appropriate to regard them as works in the stile galant of the Rococo serenade, and to interpret them with a light, delicate feeling, rather than with a more robust, late-Classical approach. To the extent that they can render the music in this hyper-refined, mannered style, violinist Thomas Zehetmair and conductor Frans Brüggen give the concertos a sometimes fragile but generally warm treatment, and the Orchestra of the Eighteenth Century plays them with radiantly idiomatic timbres on original instruments. The Sinfonia concertante of 1779 is more advanced in style, closer to Mozart's mature symphonic expression, especially in the brooding Andante, and it receives richer orchestral textures and a more fluid approach in the exchanges between Zehetmair and violist Ruth Killius. The recording is immaculate, and the subtle distinctions between orchestral tutti and accompanimental playing are made clear, so it isn't entirely a showcase for the two elegant soloists. This 2008 double-disc set from Glossa allocates the Violin Concertos No. 1, No. 4, and No. 5 to the first disc, and the Sinfonia concertante and Violin Concertos No. 3 and No. 2 -- in that order -- to the second disc, so listeners should be attentive to the tracklist.© TiVo
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Mozart: Violin Concertos Nos. 1-5; 2 Rondos

Isabelle Faust

Concertos - Released October 28, 2016 | harmonia mundi

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"Not another complete recording of Mozart's violin concertos!", some might complain, and in absolute terms they wouldn’t necessarily be wrong. Except that this complete edition is signed by star violinist Isabelle Faust, accompanied by Il Giardino Armonico (who plays on instruments from Mozart’s time, including natural horns, nine-key bassoons, six-key flutes, two-key oboes), and – last but not least – the cadenzas are signed by Andreas Staier, since Mozart has left us no cadenzas for his violin concertos (unlike several piano concertos, as well as his Sinfonia concertante for violin and viola). Far from playing the star, Isabelle Faust prefers to blend in with the whole orchestra, a kind of primus inter pares attitude quite refreshing in this repertoire which, in fact, does not require so much emphasis of the part of soloist – the sound engineering and balance itself favours an overall sound rather than an opposition between solo violin and orchestra. This is a new and very original interpretation, whatever the abundant discography of these works may already be. In addition to the five concertos, Faust plays the three single movements for violin and orchestra – two Rondos and one Adagio – which are actually "spare" movements for one or the other of the concertos written on request for soloists of that time. One wonders what Mozart would have written had he had Isabelle Faust by his side! © SM/Qobuz
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Mozart: The Complete Piano Sonatas & Variations

Daniel Barenboim

Classical - Released August 26, 2022 | Warner Classics

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Mozart: Complete Works for Solo Piano (The VoxBox Edition)

Walter Klien

Classical - Released April 21, 2014 | Vox