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Symfonische muziek - Verschenen op 18 januari 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica
Alpha begins a complete cycle of the symphonies by Sibelius alongside some of his symphonic poems with Gothenburg Symphony and its new chief conductor Santtu-Matias Rouvali. In the great tradition of Finnish conductors, Santtu-Matias Rouvali is known for his extremely physical and organic interpretations: ‘Music unmistakeably flows from him’, commented The Sunday Times. This was evident when, at a very young age, he stepped in to conduct a concert with the Finnish Radio Symphony Orchestra which began the journey to his first tenure as Chief Conductor with the Tampere Philharmonic; a meteoric rise to a career working at the highest musical level internationally; and a third post as Principal Guest Conductor of the Philharmonia Orchestra in London. When Bachtrack asked him how he shapes the orchestral sound, he replied: ‘I sing it, I move my hands the way I want it (…) the conductor should be able to show tempo somewhere in the body (…) I was also a drum kit player, so my feet and hands can do different things at the same time. When you read the score, you sing it in your head (…) I think it’s the sense of inside groove that you get from playing percussion which is very important in Sibelius’s music.’ In the Gothenburg Symphony he finds a prestigious cohort of musicians with an impressive discography, and joins a line of their illustrious musical directors, notably Neeme Järvi, the orchestra’s principal conductor from 1982 to 2004, but also Gustavo Dudamel, who is honorary conductor. © Outhere Music
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Piano solo - Verschenen op 30 november 2018 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica
Through his “brilliance and maturity” (as described by The Guardian) the Russian-Lithuanian pianist Lukas Geniušas has established himself on the international scene as one of the most interesting artists of his generation. He has appeared in London's Wigmore Hall, Amsterdam's Concertgebouw, Milan's Salle Verdi, Moscow's Conservatory and Roque d'Anthéron, and with orchestras such as the Philharmonique de Radio France, the National de Lyon, the NHK of Tokyo, the Saint Petersburg Philharmonic, the Russian National Orchestra, the list goes on... He has chosen here a Prokofiev programme combining early works from his younger years (the Ten Pieces Op. 12 which is a junior work and yet so intimately prokofievian already!) with the work from his first stage of maturity (Second Sonata from 1912) and the work from his full maturity (the Fifth Sonata). Even better, this Fifth Sonata was written "for the first time" in 1923 after his time in Paris, then revised three decades later under the constraint, undoubtedly, of the infamous Jdanov decree which had accused the composer of all anti-Soviet evils, but also due to a very personal concern (he wanted to purify the piano gesture). In a way this work seems almost "Parisian" as it has so many similarities with Poulenc's style. © SM/Qobuz
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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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Concerten voor cello - Verschenen op 30 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - Le Choix de France Musique
Cellist Sol Gabetta and her almost-favourite pianist, Bertrand Chamayou, focus here on Schumann's all too rare repertoire for cello and piano. And once again, none of these pieces are intended a priori for cello, even though the original scores do propose the instrument as a possible alternative to the clarinet in Fantasy Pieces or the horn in Adagio and Allegro. It was only with Five Pieces in Folk Style that Schumann immediately thought of the cello! Here, Chamayou plays on a Viennese fortepiano by Streicher, dated from 1847 - three or four years after the composition of these three works. The Concerto for cello is accompanied by the Basel Chamber Orchestra, who also play on instruments from the romantic era, giving a more hushed yet incisive sound for the attacks. There’s more of an emphasis on the woodwind section as well, in contrast to the over-inflated string ensemble that so many modern orchestras offer up. © SM/Qobuz
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Concerten voor klavier - Verschenen op 12 oktober 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica
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Kamermuziek - Verschenen op 19 oktober 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
Staying true to himself, harpsichordist Jean Rondeau stirs up another musical storm. In his interpretation of around fifteen Sonatas by Scarlatti, he unleashes a kind of rawness, a poetic rawness, as if he had invented the sonatas on the spot. But no, no, they are indeed Scarlatti’s sonatas! On the other hand, Domenico's letter to Queen Marie-Barbara de Bragança, found in the accompanying booklet, is factually apocryphal. She was his pupil as early as 1720 and continued to be until her royal marriage to the Spanish court; it seems that it was for her that he wrote his approximately five hundred and fifty-five sonatas, that is to say that he had found a student worthy of his genius. The farce on the ninth track is also apocryphal, which Rondeau uses as an interlude between the two “parts” of his programme. It is a funny little improvisation of jumbled notes and clusters - enough to clean the ears between the two Scarlattis. The instrument used here is quite amazing; it is a harpsichord “based on German models”, built in 2006 by Jonte Knif & Arno Pelto. It offers an extremely rich sound with a rather unusual tone, showing that it takes more than just pressing the keys of a harpsichord to get the desired sound. With his very personal technique, Rondeau makes his harpsichord wonderfully unique, giving the baroque music an incredibly modern feel. © SM/Qobuz
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Missen, passies, requiems - Verschenen op 19 oktober 2018 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
The modern-day appreciation of Francesco Bartolomeo Conti takes a decisive turn in the direction of his church music with this early eighteenth-century composer’s Missa Sancti Pauli given an ideal recording on Glossa by György Vashegyi, the Purcell Choir and Orfeo Orchestra. Conti was a Florentine who worked for much of his career in the Imperial Court in Vienna, generating much attention there – the ever-observant Johann Sebastian Bach and Zelenka were both known to have been attracted by his music. Curiously, it was liturgical works like this 1715 Missa Sancti Pauli which kept Conti’s name known until near to the end of the nineteenth century rather than the operas, oratorios and cantatas with which he delighted the Viennese Court and which have hitherto been receiving the attention of artists and record labels today. If Conti’s church music is less fledgling Classical than his dramatic fare, there is much in the way of melodic tunefulness and concertato style – for both voices and instruments – to combine with fugalimitative writing reminiscent of the “stile antico”. The work is a “Credo Mass” (both Mozart and Beethoven were to write examples of this genre, with its rondolike restatement of the word in the Credo section. The tone, control, presence and unity of the Purcell Choir have been amply demonstrated already on Glossa in music of the French Baroque – Rameau and Mondonville in particular – and the singers are given full opportunity to shine in Conti’s mass – as are the orchestra, comprised mainly of strings, and the vocal soloists, who include Adriána Kalafszky, Péter Bárány, Zoltán Megyesi and Thomas Dolié. Bárány and Megyesi are also soloists in two additional works: the motet, Fastos caeli audite and the aria Pie Jesu, ad te refugio. © Glossa
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Symfonieën - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Vocale muziek (wereldlijk en religieus) - Verschenen op 3 mei 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique
Fans of the British crown’s splendour will certainly marvel at this double album that reproduces the coronation anthems of the four monarchs of the 20th century: Edward VII in 1902, George V in 1911, George VI in 1937, and current Queen Elizabeth II in 1953. Very few of today’s ceremonies can reach such levels of grandeur.At the crossroads of tradition and innovation, these coronation ceremonies are characterised by the evocation of past heritage works, and the addition of numerous pieces commissioned specifically for the occasion to the best composers in the kingdom. For such events, Westminster Abbey is closed for several months to allow an army of craftsmen to build monumental galleries capable of hosting up to eight thousand guests. Then come the rehearsals with 400-singer choirs, half of them children, an immense orchestra, and the indispensable great organ.This recording is a selection of the best moments of these ceremonies, presented as a single liturgical structure. This ample reconstitution led by Paul McCreesh follows for the most part the 1937 ceremony, dropping however the era’s typical style when interpreting Handel. The musical approach has changed so much that it is presented here in the “baroque” style characteristic of our early 21st century. Some difficult choices were made, particularly regarding the Te Deum, the centrepiece and climax of the ceremony. A Cornelian choice between the ones from Stanford (1902), Parry (1911), Vaughan Williams (1937) and William Walton (1953). The latter was finally chosen, for its radiance and theatrical impetus. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 22 februari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Piano solo - Verschenen op 1 maart 2019 | BIS

Hi-Res Booklet Onderscheidingen Le Choix de France Musique - Choc de Classica
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Symfonische muziek - Verschenen op 5 oktober 2018 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
Sir Andrew Davis returns to his exploration of Holst’s orchestral works with the brilliant BBC Philharmonic, a series initiated almost ten years ago by the late Richard Hickox, then taken over by another expert in British repertoire. This selection of orchestral works by Holst provides a remarkable overview of his career, ranging from such early works as A Winder Idyll – composed in 1897 when he was still studying at the Royal College of Music – to the Scherzo of a symphony on which he was working towards the end of his life. None of the music recorded here was published in his lifetime, and the Scherzo – rarely heard though it is – is the only work to have entered the repertoire. A Moorside Suite, originally written for brass band, is featured here in the composer's rarely heard arrangement for strings. The young British cellist Guy Johnston is the soloist in Invocation, one of Holst’s most significant works, calling for a subtle balance of virtuosity and expressive qualities. © Chandos