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Concertos pour violon - Verschenen op 28 oktober 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Record of the Year - Gramophone Award - Choc de Classica - Choc Classica de l'année
"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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Concertos pour violon - Verschenen op 23 september 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Gramophone Editor's Choice - Le Choix de France Musique
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Concertos pour violon - Verschenen op 7 september 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Concertos pour violon - Verschenen op 15 maart 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, here is the next instalment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43. This fascinating achievement is a timely reminder that the master of The Well-Tempered Clavier was also a virtuoso violinist! © harmonia mundi
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Concertos pour violon - Verschenen op 15 oktober 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 4 étoiles de Classica
1720: in his famous pamphlet entitled ‘Fashionable Theatre’, the composer Marcello ironized the excesses of the new Venetian opera. This landmark pamphlet was published anonymously as Benedetto Marcello, under the fictional editorship of ‘Aldaviva Licante’ - undoubtedly an anagram of A. Vivaldi – ridiculing the operatic world of the time. It took on singers puffed up with pride, uneducated librettists, composers seeking dramatic effects, in short, everything that the musical world then thought about as original, unusual, new, experimental, shocking, weird, baroque, and, in a word, Italian! Vivaldi was one of Marcello’s favourite targets, continually lampooning the Red Priest and his virtuoso violin escapades. It is precisely these escapades that the violinist Amandine Beyer and the Gli Incogniti ensemble have chosen for their rich repertoire: detuned violin concertos (in the manner of Scordatura), violin ‘in tromba’, that is to say violin in a tone that betrays a scraped sound, not to mention more singular works in which Vivaldi leaves the soloist a freedom that gives real heart to the joy of improvisation. This is what really marks out Amandine Beyer, who performs in accordance with the habits of the composer, giving a clear, historical picture of her treatment of the ornaments. So, for the almost implausible Circus Maximus track, it is as if you were actually there, attending the Carnival of the year 1720! © SM/Qobuz
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Concertos pour violon - Verschenen op 1 januari 1955 | Universal Music Australia Pty. Ltd.

Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 étoiles de Classica
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Concertos pour violon - 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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Concertos pour violon - Verschenen op 21 juni 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
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Concertos pour violon - Verschenen op 21 februari 2014 | Berlin Classics

Booklet Onderscheidingen 5 de Diapason - Exceptional sound
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Concertos pour violon - Verschenen op 27 april 2018 | Nonesuch

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
In 1994 John Adams composed his Violin Concerto, a work of breath-taking virtuosity written in an exhilarating and strongly rhythmic tone, sign that it was partly conceived for the New York City Ballet; even if the first movement is somewhat reminiscent − with its dreamlike atmosphere as well as fluid and elusive harmonies – of Berg’s Violin Concerto. It’s worth noting that the orchestra, in addition to its traditional elements, features a strong percussion section as well as two synthesisers that further add to the piece’s dreamlike and uncharted hue. That same year, violinist Leila Josefowicz (born in 1977) made her debut at Carnegie Hall in a concerto by Tchaikovsky conducted by Marriner: a big leap into what was to become an established international career. And it’s precisely for Josefowicz, small world indeed, that Adams wrote his dramatic symphony Scheherazade.2 for violin and orchestra: the bond between the soloist and the master is undeniably strong, and her interpretation couldn’t be more faithful to Adam’s original idea. © SM/Qobuz
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Concertos pour violon - Verschenen op 23 september 2010 | Aparté

Hi-Res Booklets Onderscheidingen 5 de Diapason - Hi-Res Audio
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Concertos pour violon - Verschenen op 1 januari 1953 | Universal Music Australia Pty. Ltd.

Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Concertos pour violon - Verschenen op 22 juni 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concertos pour violon - Verschenen op 8 juni 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
The press is already in a spin about it: "The new Menuhin"; "a star is born"; "the enchanted bow"... Daniel Lozakovich, 17 years old, might have his head in the stars, but he has his feet firmling on the ground. He is shaping a dazzling career with stunning maturity. Born in Sweden to a family from the former USSR, he learned violin in 2007, at the age of 6. Two years later, he would play his first concerto, conducted by Vladimir Spivakov. There then followed the difficult quest to find a teacher who would "not change my musicality, but make me stronger." Daniel Lozakovich currently lives in Geneva, where he works with Eduard Wulfson, a private tutor that he met at the Verbier Festival. It was also at this festival, which showcases young talents, that the teenager met Valery Gergiev, who immediately took him under his protective and liberating wing. Signed to Deutsche Grammophon (DG), Daniel Lozakovich would soon record Beethoven's Concerto in D Major with his mentor, "a work whose structure is so clear", he said, "but whose music is so difficult". Daniel Lozakovich listened to a lot of records to perfect his playing and his musical knowledge. He learned a lot from listening to the great masters of the past, in particular Bruno Walter, who charmed him with his sense of detail, and the sound he gets from his orchestra, as well as his poetic phrasing. This preference says a lot about this very young musician, who we discover here on his first record, dedicated to Bach. Listening to the Second Partita (with its brilliantly-structured Chaconne) and the Concertos in E Major and A Minor, we are won over straight away by the solidity of his concept, the great beauty of the sonority with its long phrases and a discourse which is constantly expressive. His parents, who are not remotely musicians, would have preferred for him to be a great tennis player, but fate had other plans for this strong-willed teenager with a dazzling smile. © François Hudry/Qobuz
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Concertos pour violon - Verschenen op 27 april 2018 | Berlin Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
Undesired babies, in this case little girls, were dropped off in the famous convent, conservatory and orphanage of the Ospedale della Pietà in Venice, where Vivaldi was a violin teacher and main composer for a long time. Many of these girls, once adults, became musicians and quite a few of them reached the highest level of recognition. For one of these pupils, by the name of Anna-Maria dal Violin (the “dal Violin” wasn’t her last name, but rather a nickname highlighting her ability as a musician), Vivaldi wrote twenty-five concertos, a shining proof of her tremendous mastery; to the extent that, it seems, people came from afar to listen to her perform. Listen only in fact, not see her, as young ladies had to play behind a screen so that it was impossible to have the slightest glimpse at their appearance. But Rousseau did manage to catch one in 1743: "If you are so desirous," said an ambassador to him, "to see those little girls, it will be an easy matter to satisfy your wishes. I entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love, which I had never before experienced. Mr le Blond presented to me, one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia − she was horrid. Come, Cattina − she had but one eye. Come, Bettina − the smallpox had entirely disfigured her. Violinist Midori Seiler, accompanied by the Concerto Köln, selected a nice handful of concertos written for the aforementioned Anna-Maria. Granted we’ll never know how she played, but one can get an idea of a few of her tendencies, as the young lady kept a musical journal in which she wrote a few variants for the second movement of the Concerto RV270a that can be heard here. In parallel, this selection also features a concerto by Galuppi and another by Albinoni, that are both in a similar vein, although they weren’t written for Anna-Maria. In tune with the custom/etiquette of the Ospedale, the Concerto Köln didn’t hesitate to add in the partition a few moments of woodwinds doubling on the chords: flutes, oboes and even chalumeau, the ancestor of the clarinet that Vivaldi himself used a few times in his concertos. © SM/Qobuz
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Concertos pour violon - Verschenen op 14 september 2004 | harmonia mundi

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Concertos pour violon - Verschenen op 13 oktober 2017 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Following Sergei Prokofiev’s works for violin and piano, Franziska Pietsch now presents an album featuring both Violin Concertos of the Russian composer, with whose oeuvre and idiom the artist – a former promising star of the GDR – has felt at home ever since her youth. Alongside Cristian Măcelaru and the Deutsches Symphonie-Orchester Berlin she presents a thrilling new recording. The two violin concertos represent two phases in, and two sides of, Prokofiev’s life and work. The first was written during an era of early successes, stylistically and temporally close to his Symphonie classique, but not premiered until he was in exile. The second mirrors the itinerant existence of his life as a musician in exile, but also his longing to return to Russia. © Audite
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Concertos pour violon - Verschenen op 6 mei 2016 | RCA Red Seal

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Concertos pour violon - Verschenen op 20 maart 2015 | Berlin Classics

Booklet Onderscheidingen 4 étoiles de Classica
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Concertos pour violon - Verschenen op 25 februari 2014 | Oehms Classics

Booklet Onderscheidingen 5 de Diapason