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Vocale muziek (wereldlijk en religieus) - Verschenen op 20 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or
Alternating between transcendentally inspired secular music and sacred music embodied in theatrical fashion, Geoffroy Jourdain invites us to explore the multiple expressions of human passions: this new adventure of Les Cris de Paris, built around several settings of the ‘Crucifixus’ (including Lotti’s extraordinarily intense versions), urges us to follow a bold Via Dolorosa to the very heart of Venetian Baroque music. © harmonia mundi
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Symfonische muziek - Verschenen op 20 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
The discography of Manuel de Falla’s two most famous orchestral scores - El sombrero de tres picos (1916-1919) and El amor brujo (1919-1925) - reveals a certain proximity to French and (of course) Spanish orchestras. These two delicate ballets require fine balances and sharp attacks while showing a sensitivity to timbres and natural balances. Given the general scarcity of recordings of these ballets, fans of the composer must not miss this new Falla release, which presents two surprises: firstly, in El amor brujo, Pablo Heras-Casado uses a “cantaora”, in line with Josep Pons’ attempts more than twenty years ago, giving an exquisite touch of Iberian exoticism. The second surprise is that it is the Mahler Chamber Orchestra who are performing here (which could almost feel incongruous, were it not performed by musicians of such a high calibre). The orchestra is unfamiliar with this repertoire, yet the musicians undeniably virtuosic all the same. Though since Pablo Heras-Casado has been travelling all over the place, has he perhaps lost his sense of direction? El Sombrero de tres picos feels almost like Nielsen’s Aladdin here and the colours deployed in El amor brujo often evoke Carl Orff’s Carmina Burana or Nordic serenades. Doesn’t Falla’s Spain have more nerve and radiance? It calls for us to listen to Ataúlfo Argenta’s version with the Conservatory Concert Society (notably the recording of El amor brujo with Ana Maria Iriarte, 1953) again, just to make sure. © QobuzThe two splendid works on this album resulted from Manuel de Falla's encounter with the husband-and-wife team of dramatists Martínez Sierra-Lejárraga: El amor brujo, whose eminently ‘gypsy’ inspiration takes us to the very heart of the flamenco repertory, here magnificently embodied under the direction of maestro Pablo Heras-Casado; and the brilliant pantomime El sombrero de tres picos, for which Picasso designed the sets and costumes – exactly 100 years ago! © harmonia mundi
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Concerten voor klavier - Verschenen op 19 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique
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Sacred Oratorios - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Month - Choc de Classica
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Klassiek - Verschenen op 22 maart 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
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Religieuze vocale muziek - Verschenen op 11 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or
The regime of Queen Elizabeth I dealt harshly with supporters of the old Catholic religion. Torn between obedience and conscience, some of England’s most talented musicians – Philips, Dering and Dowland – chose a life of exile abroad. Others chose to remain in spiritual isolation in England, comparing themselves to the exiled Israelites in Babylon. Amongst them were Robert White, whose five-part Lamentations are one of the glories of English music of any age, and William Byrd, whose anguished Catholic music is referenced in Shakespeare’s enigmatic poem The Phoenix and the Turtle, vividly set by Huw Watkins especially for stile antico. © harmonia mundi
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Concerten voor viool - Verschenen op 26 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
To say that the concerto was one of Haydn's favourite forms would be a bit much, daft even. The man wrote a good hundred symphonies, dozens of quartets, trios, piano sonatas, fifteen or so masses and as many operas, and oratorios... Currently we know of three violin concertos (others being lost or apocryphal), two cello concertos (others... see above), one horn concerto, one for trumpet (there are no others) and at most about ten concertos for piano. Musically, they are fascinating works, but the level of technical skill they demand runs from moderate to a bit tricky. But the First Cello Concerto is not without its moments of difficulty, such as the rapid high notes in the final movement, and it offers some real fireworks. It should also be noted that most of the concertos were written for Esterházy, specifically for the first soloists in the house orchestra of Konzertmeister Luigi Tomasini and first cellist Joseph Weigl. The orchestral accompaniments offered the soloists some fine backdrops: in particular in the second movement of the Concerto for violin in C Major , with the orchestra's string section accompanying the solo violin with a sort of lute-playing that becomes a kind of serenade à la Don Giovanni. Amandine Beyer takes up the violin for this recording, while Marco Ceccato deals with the cello solo – both members of the Gli Incogniti ensemble ("The Unknowns"), a fluid grouping that plays without a conductor. Their leaderless style means that the musicians all listen to one another: it's a lovely way of making music (and sadly rare in the world of orchestras). © SM/Qobuz
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Kamermuziek - Verschenen op 31 augustus 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - 5 Sterne Fono Forum Klassik
With these recordings which mark the launch of the Stradivari collection, discover the unique instruments lovingly preserved at the Philharmonie de Paris's Museum of Music: the finest examples of the art of instrument-making which, like the iconic harpsichord crafted in 1652 by Ioannes Couchet, are given a new life thanks to the skill and commitment of its keen conservators. When this 'national treasure' is entrusted into the hands of an expert like Christophe Rousset, the magic is evident. As the sumptuous sonority of Louis Couperin's music is revealed, poetry meets fantasy.
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Piano solo - Verschenen op 22 juni 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Concerten voor cello - Verschenen op 18 mei 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 5 Sterne Fono Forum Klassik
After two albums which met with unanimous critical acclaim all over the world, the Resonanz Ensemble, based in Hamburg, is offering a recording dedicated to Carl Philipp Emanuel Bach: the Cello Concertos wq. 170 and Wq. 172, respectively from 1750 and 1753, and the Symphonie Wq. 173 of 1741. The listener will immediately note the radical difference in language between the two concertos, written after the death of Bach Senior, and the Symphony, written while he was still alive: the concertos keep their eyes firmly fixed on the nascent classical era, including the "Sturm und Drang" which still lay ahead (in this regard, the Concerto in A Minor which opens the album, full of force and melodic power, is an excellent example), whereas the Symphony takes the final throes of baroque as its point of departure. Cellist Jean-Guihen Queyras and the Resonanz Ensemble offer a crystal-clear reading, conducted by their new musical director in residence, violinist Riccardo Minasi: and coolly resist the vogue – which can be quite intrusive, or even dictatorial or exclusive – for period instruments, which seems to hold that any music before Mozart (and even sometimes Mozart too) may not be played on modern instruments. Queyras, Resonanz and Minasi are all able to make use of stylistic elements gleaned from the fashion for baroque. This is a very fine album, superbly played, which really brings out all the originality of Carl Philipp Emanuel Bach. © SM/Qobuz
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Wereldlijke vocale muziek - Verschenen op 27 april 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Exceptional Sound Recording
We could say that the composers chosen here by Sébastien Daucé and the Ensemble Correspondances cover England from 1600 to 1700, from Coprario's generation (real name Cooper, but Italicised for fashion reasons!), Johnson and Lanier, all born before the turn of the 17th century, up to Hart and Blow who died just after. Step by step, we follow the integration of the new art brought over from Italy, although the typically-Italian recitations remain coloured by "declamation", a typical feature of English music. Another clear pivot is the twenty-year musical hiatus between the start of the Civil War in 1642 and the Restoration with Charles II's return to the throne, and in between, the Puritan religious dictatorship of Cromwell, which tried to ban more or less any form of celebration, including music. A number of English artists chose exile in the countryside, teaching music, or went abroad. This comprehensive selection spanning a whole century allows the Correspondances ensemble, a broad group of singers and instrumentalists, to show their deep knowledge of this whole epoch, which is extremely rich despite often precarious conditions of life and threats to survival. © SM/Qobuz
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Symfonische muziek - Verschenen op 13 april 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
Recording Ravel's music on period instruments is the kind of thing that might raise a smile... until you realise just how much the production of instruments has changed in less than a hundred years: it's the return of catgut strings, skin drum heads, the French basson (and not the German system bassoon which is used across all the world's orchestras today), shaper tips, trumpets and trombones of French manufacture. At the head of his orchestra Les Siècles, François-Xavier Roth gives a new, orthodox, historically-informed version of Ma Mère l’oye (complete ballet), the Tombeau de Couperin and Shéhérazade, the long-neglected "ouverture de féérie" [Fairy Overture] which is pure Ravel. This return to the roots is clearly easier and more straightforwardly authentic for this period of music history, because, unlike earlier works, we possess recordings which date back to the 1920s, and even earlier, which can tell us about the style, the colours, the phrasing and the tempo. But it isn't enough just to have all this historical information to hand to make something interesting. What makes this record thrilling is that all the musicians in the Siècles are excellent, and François-Xavier Roth is a talented artist himself, who knows this music inside out. At which point, his complete recording of Stravinsky's Firebird has already struck us with its quality. This rediscovery of Ravel resounds with clarity and finesse; it is a feast of well-defined timbres which cuts against the "beautiful sound" which prevails in orchestras around the world today. © François Hudry/Qobuz
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Piano solo - Verschenen op 16 februari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
Unfortunately no, dear reader, there is no such thing as a cycle of “24 Preludes” by Rachmaninoff; however there are indeed 24 Preludes: a collection of ten Op. 23 from 1903, 13 other Op. 32 from 1910 and one isolated Prelude from the Morceaux de fantaisie Op. 3 (Fantasy Pieces) from 1893. In total: 24 Preludes, in which as a simple count shows Rachmaninoff − much like Chopin and of course Bach − illustrated all major and minor tones. Deliberately random, or the involuntary drive to create a reasonably coherent cycle? Contrary to his two illustrious predecessors, Rachmaninoff didn’t order his Preludes according to a specific tonal plan: the musician’s fantasy develops bit by bit. Nikolai Lugansky – described by the famous magazine Gramophone as “the most innovative and transcendent interpreter of all” (so much for the others…), truly an extraordinarily deep and polyvalent pianist – decided to present the Preludes in the order prescribed by partitions, rather than reorganising them according to some hypothetical tonal logic, without knowing if Rachmaninoff would even have recommended or even considered it, particularly as the constant alternation of moods, independently of any tonal consideration, gives the piece a sense of perfect coherence. Finally it’s worth mentioning that Lugansky offers a very “original” interpretation of this divine music, which may feel like a re-discovery to some listeners. © SM/Qobuz
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Kamermuziek - Verschenen op 19 januari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
The Forqueray family, father and son: thereupon hangs a dark tale. The father, Antoine (1672-1745), famous composer and gamba player, a musicien ordinaire de la chambre du roy from 1689, developed such a furious jealousy of his son Jean-Baptiste (1699-1782) that he had him thrown in jail at the age of 20. Only the intervention of his friends won the young virtuoso his freedom, and finally he succeeded his father as a musicien ordinaire de la chambre du roy in 1742, when his father was no longer in a position to object. In 1747, Jean-Baptiste won the privilege of publishing 29 of his father's pieces for viol da gamba and three of his own pieces; he also published a transcription of these same pieces for harpsichord. It is these works that Michèle Dévérité is offering us on the harpsichord, joined by Kaori Uemuraon the viol da gamba and Ryo Terakado on the viola for the ensemble pieces. A magnificent undertaking, which, two and a half centuries after the break between the two Forquerays, brings them back together in the most striking manner. To complement the second volume, we are also treated to several works dedicated to the Forquerays, by Charles François Clément, Louis-Antoine Dornel, Claude François… uh, sorry: Claude-François Rameau, the son (another father-and-son pair), and two modern composers. © SM/Qobuz
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Kamermuziek - Verschenen op 5 januari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Kamermuziek - Verschenen op 13 oktober 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
Bach (Johann Sebastian, that is) or not Bach? This is the question that the violinist Amandine Beyer and the ensemble Gli Incogniti asked themselves by seizing a handful of works long thought to be from the Kantor and that we now know to be from other composers—known, identified or not. Thus, the Sonata BWV 1024 may have “ended up” in Bach’s repertoire because a musicologist knew how to use the right scientific arguments (paper, copyists, geographical and historical contexts) to achieve his goal. The style of the composition, which admittedly is a bit reminiscent of Bach, cannot however quite fall in line with the musician’s writing style. Therefore, in order to avoid the sonata disappearing back into anonymity, it has now been attributed to Pisendel, rightly or wrongly. The Trio BWV 1036 is from Carl Philipp Emanuel Bach—we were always quite sure of that, even if some less scrupulous releases have omitted the first name… The Trio BWV 1037 seems to be from Goldberg (the one from the Variations). The Suite in A major BWV 1025 is of somewhat ambiguous paternity, but it’s actually an arrangement Bach created for violin and harpsichord using the Suite SC 47 for lute that his friend and colleague Silvius Leopold Weiss composed. These are a few works that, after long being in the paradise of being attributed to Bach, are now in the hell of the “fake”, even if it’s not the fault of the composers that wrote them! What a pity… © SM/Qobuz
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Kamermuziek - Verschenen op 22 september 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 19 mei 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
What was the context in which so great a masterpiece such as Monteverdi’s L’Orfeo could be born back in 1607, invested with such beauty, endowed with such profundity of expression and so perfect a structure, at a time when the operatic form was still in its infancy? These are precisely the questions that lie at the origin of this recording project, giving Pichon and his musicians the opportunity to discover the astonishing musico-dramatic productions that preceded L’Orfeo, notably those performed at the Medici court in Florence, in which one may discern the seeds of numerous elements to be found in L’Orfeo. At the turn of the 16th and 17th centuries, it was ovbviously the city of the Medici that was the main focus of one of the most fascinating moments in the history of music: the birth of opera. Concentrating on the years from 1589 to 1611, i.e. the premiere of the intermedi for theatre piece called La pellegrina at one end and the performance in Florence of Marco da Gagliano’s Dafne at the other, Pichon has devised four imaginary “interludes” – inspired by the form of the intermedio so popular at this period – in which he assembled some of the finest examples of the first stirrings of opera, the music pieces of which are signed Lorenzo Allegri, Antonio Brunelli, Giovanni Battista Buonamente, Giulio Caccini, Emilio de’ Cavalieri, Girolamo Fantini, Marco da Gagliano, Cristofano Malvezzi, Luca Marenzio, Alessandro Orologio, Jacopo Peri and Alessandro Striggio. In imitation of the ancient theatre, intermedi were entertainments inserted between the acts of plays, with sumptuous visual effects, which provided a pretext for allegories to the glory of the reigning dynasty. The place of music and the fantastic element in theatrical performances acquired an ever grander and more spectacular character, thanks notably to the genius of set designers and the progress made in the domain of stage machinery. Seeing the artistic and political potential of the genre, the powerful princely families of the northern half of Italy (Gonzagas, Este and Medici, as well as the papal court), encouraged its development. Intermedi ended up occupying so important a place that they became a show within the show, with the aim of dazzling the audience. It was in 1589 that the Florentine tradition of intermedi attained its zenith, with the six sumptuous entertainments devised by Count Bardi to accompany the comedy La pellegrina, performed on the occasion of the wedding of Grand Duke Ferdinando I and Princess Christina of Lorraine, grand-daughter of Catarina de’ Medici. In their variety and novelty, with a balanced combination of polyphony and the nascent monody, not forgetting instrumental and dance music, the intermedi of 1589 opened the way for an integrally sung form of theatre. And indeed it was once again Florence that witnessed the first examples of the Gesamtkunstwerk, the perfect model of the alliance between poetry and music. At the turn of the 16th and 17th centuries, a veritable laboratory was set up in Florence, prompting poets and composers to bring together several forms of musical expression in a single place? Building on the models established by earlier generations, composers continued their experiments with sound-space and the spatialisation of music, what with the proliferation of echo effects in the early monodies, or madrigals featuring dialogues between as many as seven independent choirs. But how can one tell this story nowadays, revive this rich adventure? The solution chosen for this recording was to create from scratch a large-scale imaginary work, resembling an initiatory journey, that would weld these multiple works into a single whole.
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Religieuze cantates - Verschenen op 21 april 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 17 maart 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - 5 Sterne Fono Forum Klassik