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Schubert: Schwanengesang etc

Dietrich Fischer-Dieskau/Gerald Moore

Classical - Released January 1, 2001 | Warner Classics

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La symphonie des oiseaux

Shani Diluka

Classical - Released January 27, 2017 | Mirare

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La Leggierezza

Yang Yang Cai

Classical - Released January 6, 2023 | Challenge Classics

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Kissin Plays Liszt

Evgeny Kissin

Classical - Released March 25, 2011 | RCA Red Seal

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Schubert: Hymne an Die Nacht, Hymne À la Nuit

Brigitte Engerer

Classical - Released January 10, 2008 | Mirare

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Les heures persanes

Ralph Van Raat

Classical - Released April 5, 2011 | Naxos

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Charles Koechlin may not be a well-known composer, but anyone who enjoys the music of Olivier Messiaen should get to know Koechlin. Les heures persanes, one of his better known works, is a suite of character pieces written between 1916 and 1919. Throughout the pieces are hints of what Messiaen would write later in his piano works, such as the Visions de l'Amen and the Vingt Régards sur l'Enfant-Jésus. Les heures depicts scenes of Persia -- although more landscapes than life studies -- with titles similar to those of Debussy's preludes, (e.g., "Clair de lune sur les terrasses" and "Les collines au choucher du soleil"). The harmonies are more advanced than Debussy, and in places, for example in No. 4 "Matin frais, dans la haute vallée," sound exactly like Messiaen. Nos. 14 and 16 have a brilliant intensity similar to Messiaen. No. 6, "A travers les rues" is more backward looking with lush, flowing lines evocative of Fauré's (one of Koechlin's teachers) writing, but with freer harmonies. Here, van Raat allows it to breathe almost like a jazz improvisation. Van Raat treats all the music very organically, adding nuanced color without it seeming at all like work. It streams very easily through his fingers, letting the slower movements become meditative to an extent, again creating a link to Messiaen, specifically his spirituality. Van Raat naturally tempers the music; the more active sections are never painfully intense, nor do the slower ones tend to inertia. This performance of Les heures would definitely suit as an introduction to Koechlin or as a bridge between Debussy or Fauré and Messiaen for anyone looking to expand the scenery of their musical countryside. © TiVo
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Margaret Price In Recital

Margaret Price

Classical - Released August 16, 2019 | Universal Music Australia Pty. Ltd.

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Pluie - Bruits de Pluie

Torsten Abrolat

Relaxation - Released January 30, 2020 | SyncSouls

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Les Enfoirés 2024, On a 35 ans !

Les Enfoirés

French Music - Released March 2, 2024 | Sony Music - Restos Du Coeur

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Starmania

Starmania

French Music - Released January 1, 1978 | Warner (France)

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Schütz: Schwanengesang, Op. 13

La Capella Ducale

Classical - Released October 28, 2023 | CPO

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Schubert: Lieder with Orchestra

Munich Radio Orchestra

Classical - Released October 6, 2023 | BR-Klassik

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One might react to this album with initial annoyance and ask whether it is really necessary to hear orchestrated versions of Schubert's supremely pianistic songs. It may come as a surprise, then, to find that most of these Lieder with Orchestra were arranged by great composers. They include Benjamin Britten, Jacques Offenbach, and Max Reger, who took on the job because, he said, he hated to hear a piano-accompanied song on an orchestral program. Perhaps the most surprising name to find is that of Anton Webern, but his arrangements are not the minimal, pointillistic things one might expect; he wrote these arrangements as a way of studying Schubert's music, and they are quite straightforward. Indeed, it is somewhat difficult to distinguish the arrangers simply by listening to the music; Schubert's melodic lines tend to suggest distinctive solutions. Perhaps Reger's are a bit more lush than the others, although his version of Erlkönig, D. 328, is one of the few numbers here that just doesn't work (there is no way to replicate the percussive quality of the accompaniment). As for the performances as such, Benjamin Appl is clearly an important rising baritone, and he has a wonderful natural quality in Schubert. An oddball release like this might seem an unusual choice for a singer in early career, but he contributes his own notes, and he seems to have undertaken the project out of genuine enthusiasm for the material. At the very least, he has brought some intriguing pieces out of the archives and given them highly listenable performances. The Munich Radio Orchestra, under the young Oscar Jockel, is suitably restrained and keeps out of Appl's way. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo
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Schubert: Schwanengesang

Andrè Schuen

Classical - Released November 18, 2022 | Deutsche Grammophon (DG)

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After receiving huge praise for his debut album on Deutsche Grammophon, baritone Andrè Schuen continues his Schubert journey. Schubert's enigmatic final collection of songs, Schwanengesang, is the subject of Andrè Schuen and his longstanding accompanist Daniel Heide's second release for Deutsche Grammophon. Schuen calls Schwanengesang "my greatest love among the Schubert lieder. Especially the Heine settings; they move me the most!". © Deutsche Grammophon
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Bach: St. Matthew Passion, BWV 244 by Otto Klemperer

Otto Klemperer

Classical - Released March 4, 2023 | Alexandre Bak - Classical Music Reference Recording

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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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Gloire Immortelle !

Hervé Niquet

Classical - Released November 17, 2023 | Château de Versailles Spectacles

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Bach : St Matthew Passion (Matthäus-Passion)

René Jacobs

Masses, Passions, Requiems - Released October 7, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Choc Classica de l'année
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Messe pour le temps présent

Pierre Henry

Electronic - Released January 1, 1967 | Universal Music Division Decca Records France

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Though it's perhaps Henry's best-known work, Messe Pour le Temps Présent isn't the best display of the powers of musique concrète. Similar to the glut of crossover Moog rock albums around the same time, Henry's occasional bursts of searing computer static are accompanied by a faux '60s go-go beat. It's an intriguing release, but works better for novelty fans and beginners who would rather have a gradual immersion into musique concrète. It earns its stars, however, for its reissue on a French CD that also includes several of Henry's other compositions, including "Variations Pour une Porte et un Soupir."© John Bush /TiVo
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Babel

Jean-Louis Murat

French Music - Released October 13, 2014 | [PIAS] Le Label

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Schubert: Schwanengesang

Mark Padmore

Classical - Released January 27, 2023 | Decca Music Group Ltd.

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This release by tenor Mark Padmore and pianist Mitsuko Uchida, Schubert specialists both, came with strong recital buzz on both sides of the Atlantic and landed on classical best-seller charts in early 2023. This recording was made at Wigmore Hall in London. It is Schubert's not-quite-cycle Schwanengesang (it was assembled into a set after Schubert's death) that gets top billing in the graphics, but the album opens with Beethoven's An die ferne Geliebte, Op. 98, the first true song cycle, shown on the cover in small print. The piano part in Beethoven's songs had an unprecedentedly major role in the proceedings, and the placement of the set at the beginning may serve to advise the listener of the unusual emphasis on Uchida's piano in the main Schubert attraction as well. Sample Ständchen, the most famous song in the set, or Abschied for a taste of the lively, spritely quality that is Uchida's alone. The piano-driven effect is heightened by the engineering, which puts Padmore's voice somewhat into the background, and it is not at all clear that this needed to be done. Padmore remains, however, a terrific Schubert interpreter. His voice is a bit thin in its middle register by now, but his ability to extract fine shades of meaning through slight alterations of tempo is unmatched. In general, this is a fine Schubert recording that lives up to the hype, and it is especially recommended to Uchida fans; they will discover a new facet of her talent. © James Manheim /TiVo