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Piano solo - Verschenen op 27 maart 2020 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Liederen (Duitsland) - Verschenen op 20 maart 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Choc de Classica
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Wereldlijke vocale muziek - Verschenen op 20 maart 2020 | Alpha

Hi-Res Booklet Onderscheidingen Choc de Classica
The starting point for Barbara Hannigan’s third recording for Alpha is a work by Gérard Grisey (1946-98) that is particularly close to her heart. Grisey wrote: ‘I conceived the Quatre Chants pour franchir le seuil (Four songs for crossing the threshold) as a musical meditation on death in four parts: the death of the angel, the death of civilisation, the death of the voice and the death of humanity... The texts chosen belong to four civilisations (Christian, Egyptian, Greek, Mesopotamian) and have in common a fragmentary discourse on the inevitability of death’. Luigi Nono (1924-90) was a politically engaged composer. His stunning monody Djamila Boupacha, a heart-rending cry for solo soprano, pays tribute to a freedom fighter tortured by French paratroopers during the Algerian war; Picasso also portrayed her in charcoal. Once again Barbara Hannigan both sings and directs this pair of twentieth-century works with her friends of the Ludwig Orchestra. She has chosen to couple them with a Classical symphony by the master of the genre, Joseph Haydn, which also deals with the theme of the Passion. Her interpretation is extremely intense and highly personal. © Alpha Classics
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Piano solo - Verschenen op 13 maart 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica
What exactly is this “new path” (neuer Weg) that the infamous fortepianist Andreas Staier is inviting us on with this new album published as part of harmonia mundi’s vast Beethoven 2020-2027 project? All the works offered here were composed at the dawn of the 19th century by a young tempestuous composer who was conscious of his worth but also of his weakness as he began to feel the first effects of the deafness that would go on to take over his life. This recital is mind blowing from the first few beats of the thundering Sonata No. 16 in G major. With his crystalline, weightless fortepiano built by Mathias Müller around 1810, Staier seems to show us how much this frail instrument labours to show the full spectrum of the composer’s genius, boundary-breaking as it was at the time. The three sonatas and two series of variations that make up this programme were all published in 1802, at a time when Beethoven wanted to “start something new” at the turn of the century after the slew of revolutionary torment that had shaken Europe to its core. It was a new way of thinking for a composer who spoke with a more authoritative tone than his predecessors, in the “first person”. Andreas Staier is without a doubt one of the best possible performers to portray this new era of musical and artistic thinking that arose during a troubled time (the rise of Napoleon) when the clarity of language rivalised the closing off of individuality. © François Hudry/Qobuz
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Piano solo - Verschenen op 6 maart 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
After recording Rachmaninov's 24 Preludes and a recital dedicated to Claude Debussy for his new publisher harmonia mundi, pianist Nikolai Lugansky extends his repertoire even further with a monographic album dedicated solely to César Franck. The list of piano works by this organ-playing composer was not very extensive, so Lugansky chose to perform the Prelude, Fugue and Variation Op. 18, and theChorale No. 2 , on the piano, both in the same key. Written specifically for the piano, the two triptychs Prélude, Choral et Fugue and Prélude, Aria et Final are inspired by both Bach and Liszt and had an obvious influence on later French music, particularly with Albéric Magnard (Symphony No. 3) and all the way up to Francis Poulenc (Concerto for organ ). Nikolai Lugansky constructs these pieces like a builder, with unfailing solidity. He brings out the architecture and the projections with power and fullness, while looking for what he calls "a French sound, a beauty of sonority and refined sound without lourdeur". © François Hudry/Qobuz
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Concerten voor viool - Verschenen op 6 maart 2020 | Alpha

Hi-Res Booklet Onderscheidingen Choc de Classica
After several recordings with Anima Eterna and Jos Van Immerseel, the French violinist Chouchane Siranossian tackles a programme of extremely virtuosic concertos that few Baroque violinists dare to face. Thanks to her technical gifts and to partners ideally suited to this repertory – the Venice Baroque Orchestra and its conductor Andrea Marcon, a specialist in the Italian Baroque style – she takes up the challenge with brio. This album is released to coincide with the 250th anniversary of Tartini’s death in 2020. Of special interest is a completely unknown and unpublished Concerto in G major, the manuscript of which was recently found by the musicologist Margherita Canale. © Alpha Classics
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Piano solo - Verschenen op 21 februari 2020 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen Choc de Classica
Maurizio Pollini revisits Beethoven’s final three sonatas (Op. 109 to 111), forty years after recording the very same score for the first time, a score which sees the composer elevate the genre to dizzying levels of expertise. The Italian pianist explains that ever since January 1977 (the first time he recorded No. 32, Nos. 30 and 31 dating even further back to June 1975), he has continuously discovered an infinite number of details within the material and the structure over the course of the multiple times he has performed the three sonatas. Beethoven strays away from the conventions of the traditional sonata with these, something he had been doing since his Opus 27 (Quasi una fantasia, Moonlight), inserting various astonishing shapes. Thus, variation (Op. 109, Arietta of the Op. 111) and fugue (Op. 110, after that of the Opus 101) assume an innovative importance here, much like other unrestricted episodes where Beethoven appears to be expressing very personal emotions, initiating the Romantic era, where subjectivity reigns over structure. Recorded in concert, Maurizio Pollini brings a surprising amount of urgency (Op. 109) and lyricism (Op. 110) to this release that ensures its place as one of the best Pollini recitals in recent years (Beethoven, Debussy, Chopin). A must-listen. © Pierre-Yves Lascar/Qobuz
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Concerten voor klavier - Verschenen op 21 februari 2020 | Decca Music Group Ltd.

Hi-Res Onderscheidingen Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica
The unconventional character that is Benjamin Grosvenor delivers us a very personal version of these two essential works of the piano repertoire. The first Brit to have signed an exclusive contract with Decca Classics in sixty years, he first made his name in 2004 when he won the Keyboard section of BBC Young Musician of the Year, thus throwing the doors open to an international career. Produced alongside the talented young conductor from Hong Kong Elim Chan, the musical director of the Royal Scottish National Orchestra, this new album dedicated to Chopin revisits the young British prodigy’s first musical loves. It was following a very successful concert with Elim Chan that they decided to record the Piano concertos by Chopin together. In this fifth album (for Decca), it’s Grosvenor’s virtuosity and ability to make the instrument sing that allow him to fully express his favourite music. “Chopin was the first composer to whom I felt a strong connection to as a child. I have always been drawn to his music, and his piano concertos are among some of the finest in the repertoire”, he says. Other than his already legendary sound and the expert way he strikes a balance between the different acoustic levels, his vision underlines the dreamy romanticism that delicately envelops the two concertos by the then-20-year-old Polish composer. © François Hudry/Qobuz
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Jazz - Verschenen op 14 februari 2020 | ECM

Hi-Res Booklet Onderscheidingen Choc de Classica
A sage piano stylist audibly influenced by Basie and Monk among others, Carla Bley has over the past 60 years also become one of jazz's preeminent composers. Originally influenced by '60s jazz avant-garde, Bley, as evidenced by her latest, Life Goes On, has fashioned her own jazz ethos—what ECM's Manfred Eicher has called her "radical originality." In jazz groups of any size longevity is often impossible as the essence of the music is often dependent on the potential of new combinations of talent, and yet a large part of Bley's recent success is keyed by her working trio of bassist/life partner Steve Swallow and saxophonist Andy Sheppard, who've been together for 25 years. Based around three suites—her most preferred form of composition—the lean and spacious Life Goes On is wonderfully confident and distinct. The opening movement of the title track is sly blues before turning to two parts that explore her trademark melodic mingling of classical music discipline and free jazz adventure. It concludes with "And Then One Day," where Bley holds down the rhythm with a repeated figure, over which Sheppard plays jaunty lines that have more than a whiff of Paul Desmond's cool tone. "Beautiful Telephones," based upon the current chief executive's comment about the Oval Office's exceptional phones, begins with Bley downshifting emotionally and exploring a more somber mood with Swallow plucking out his notes and Sheppard's tenor saxophone providing an equally unsettling counterpoint. In this work's final movement, the tempos pick up and her characteristic humor comes to the fore as she wryly quotes "The Battle Hymn of the Republic," "The Star-Spangled Banner," "America the Beautiful," and other patriotic hymns in a modern echo of her '70s composition, "Spangled Banner Minor and Other Patriotic Songs." The final suite, "Copycat" explores the hallowed jazz device of call-and-response as a conversation between three supremely accomplished players, whose clairvoyant togetherness shifts between agreeable and discordant. While it's right to applaud the current rush of praise for the fresh energies that youth are bringing to music these days, the deep wisdom and impeccable craft of a pioneer like Bley deserves to be equally acclaimed. © Robert Baird / Qobuz
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Concerten voor viool - Verschenen op 3 januari 2020 | Chandos

Hi-Res Booklet Onderscheidingen Choc de Classica
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Symfonieën - Verschenen op 6 december 2019 | BIS

Hi-Res Booklet Onderscheidingen Choc de Classica
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Trio´s - Verschenen op 29 november 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
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Klassiek - Verschenen op 15 november 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
One never comes across any ordinariness when following Alexandre Tharaud’s career. This new album is as impressive in the originality of its conception as much as its meticulous musical delivery. The French pianist appears to be nostalgic towards two different golden ages: that of 17th-century music, and that of the French piano during the 1950s, specifically Marcelle Meyer’s inspiring playing which Tharaud remains motivated by. The “Versailles” which has attracted Alexandre Tharaud, and serves as the title for this recital is less Louis XIV’s opulent world of wonder and more of an intimate world of secret music. Without any difficulty, the pianist manages to make these pieces specifically written for the harpsichord his own, even going as far as inviting young harpsichordist Justin Taylor to join him for a rendition of Rameau’s Les Sauvages... for four hands on the piano! If the pianist Marcelle Meyer had recorded Rameau and Couperin in an era more liberal than today, Alexandre Tharaud has the audacity to go against musicological rules for the listener’s benefit. Of course, we are accustomed to Bach, Scarlatti, Couperin and Rameau on the modern piano, but Pancrace Royer, Robert de Visée, Jean-Henry D’Anglebert and Jacques Duphly are suddenly thrust into the limelight of this musical collection which incidentally highlights their relevance. © François Hudry/Qobuz
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Klassiek - Verschenen op 8 november 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
For several years, the young Franco-Swiss tenor has been gaining a name as a heartthrob on all the great stages of the world. Perhaps thanks to his French origins, he has the perfect diction of a Georges Thill and the vocal power of a Roberto Alagna, with whom he is often compared. On the Helvetian side, Benjamin Bernheim has the class of an Ernst Haefliger or an Éric Tappy, not to mention their modesty and simplicity of style. As part of an exclusive contract with Deutsche Grammophon, he has produced this very successful début album, which presents the roles that he is currently performing in Covent Garden, Zurich, Milan, Vienna, Chicago and Paris. Having won critical acclaim for the quality of his performances, in 2018 Benjamin Bernheim gave French audiences the original 1859 version of Faust by Gounod, at a concert at the Théâtre des Champs-Elysées, with Christophe Rousset conducting. He bided his time, making no abrupt moves and working on his roles as part of the troupe at the Zürich Opera, preparing his characters patiently, with the fine psychological sense of an actor. The beauty of his natural timbre is married to his perfect diction on this first recital, which alternates between French song (Massenet, Gounod, Godard, Berlioz), Italian opera (Donizetti, Verdi, Puccini) and the Russian repertoire (Lenski's famous aria in Tchaikovsky's Eugene Onegin). This recording was made with the Prague PKF Orchestra, with Emmanuel Villaume conducting – in the generous acoustics of the Smetana Hall – over two sessions in 2017 and 2018. © François Hudry/Qobuz
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Missen, passies, requiems - Verschenen op 8 november 2019 | Arcana

Hi-Res Booklet Onderscheidingen Diapason découverte - Choc de Classica
After rediscovering the music of Giovanni Croce, maestro di cappella at St Mark’s cathedral in Venice, Ensembles Voces Suaves and Concerto Scirocco take us to Salzburg and put the spotlight on the Verona-born composer Stefano Bernardi, a contemporary of Monteverdi. Bernardi reached the peak of his career in Salzburg, when he was appointed the first Kapellmeister of its newly constructed cathedral, a position he held from 1628 to 1634. Bernardi contributed greatly to the integration of the Italian nuovo stile in Salzburg, especially of features such as polychorality and the stile concertato, and may therefore be seen as the musical forefather of later, more famous Salzburg musicians. The outstanding stature of his music is clearly evident from his majestic Requiem, the manuscript of which is still preserved in the Salzburg cathedral archives. Particularly impressive is the Sequentia, which forms the core of the work and opens with an elaborate Dies irae section, based on the famous chant melody. The Requiem, as well as a number of Motets by Bernardi, is recorded here for the very first time. © Arcana
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Piano solo - Verschenen op 1 november 2019 | Deutsche Grammophon

Onderscheidingen Choc de Classica
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Klassiek - Verschenen op 25 oktober 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Liederen (Frankrijk) - Verschenen op 25 oktober 2019 | Bru Zane

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica
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Klassiek - Verschenen op 18 oktober 2019 | Decca Music Group Ltd.

Hi-Res Onderscheidingen 5 de Diapason - Choc de Classica
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Wereldlijke vocale muziek - Verschenen op 18 oktober 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
The Second Book of Madrigals of Carlo Gesualdo provides the focal point for the latest in La Compagnia del Madrigale’s stunning reappraisals of the glories of the Italian madrigal on Glossa. Probably written by Gesualdo between the time of the double honour killing of his first wife and her lover and his subsequent remarriage, the second book presents a sophisticated compositional mastery quite in keeping with the later books, albeit offering a calmer and gentler approach compared to the more tortured and twisted musical and psychological turns found in the last books. Notwithstanding, much is required from the singers on the Secondo libro di madrigali a cinque voci and La Compagnia del Madrigale bring their muchpraised sensitivity to the text, balance of ensemble and dynamic control. In the booklet, both Marco Bizzarini and Giuseppe Maletto investigate the state of mind of this fascinating composer, over four centuries since his death. The substantial second part to this recording offers a set of contrasts with Book 2: nine tracks devoted to madrigalists inspired by Gesualdo’s style, from contemporaries in Nenna, Macque and Palazzotto Tagliavia to the later Sigismondo d’India. A veritable bonus! © Glossa