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Klassiek - Verschenen op 19 september 2019 | Warner Classics

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Duo´s - Verschenen op 23 augustus 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
Whatever it takes, so long as it sounds remarkable. A viola da gamba composition played on a viola da braccia, or Bratsche in German. Such feats are commonplace for Antoine Tamestit, and here he overcomes the challenge with the same sense of indulgence that we have come to expect. In fact, the musician is an expert in adapting baroque classics. Tamestit transcribes compositions with tactfulness and intelligence, like in his two Suites for Solo Cello by Jean-Sébastien Bach. This time, the viola player is accompanied by his accomplice Masato Suzuki on harpsichord for the recording of the Three Sonatas for viola da gamba, BMV 1027-1029. Playing the music we like on an instrument we love, isn’t that what taking pleasure in music is about? There are incidentally several versions of the Sonata in G major, BMV 1027: a trio sonata of two transverse flutes and perhaps even an organ. So why not the viola? The record contains three scores in reverse order to their catalogue numbers. It’s a pleasure to hear the Vivace under the viola players agile fingers and ductile phrasing. The instrument’s grain is warmly transferred through his bow thanks to his natural approach to playing. The balance between the two musicians is a delight, particularly in the arrangement of the aria “Ergiesse dich reichlich” of the cantata Wo sol ich flihen hin, a pleasant surprise that is slipped in between sonatas BMV 1029 and 1028. The melody is fluidly transferred between the players and demonstrates the complexity of the composition’s exceptional contrasts. Of course, the viola provides a larger ambitus with seven strings and its ability to play deeper notes. Tamestit and Suzuki deliver here a disarmingly graceful rendition that lacks no gravity. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 2 augustus 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 19 juli 2019 | Regulus

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Klassiek - Verschenen op 12 juli 2019 | Ramée

Hi-Res Booklet
In earlier times, adaptations and rearrangements of their own works or those of others formed an integral part of the daily lives of musicians and composers. So-called ‘historically informed’ performance practice, which has developed out of a strictly historical perspective on past eras of music, long left this way of treating an existing composition almost totally unexplored. Today, however, it is enjoying a renaissance and is part of a musician’s training. The idea of arranging Bach’s works is a natural one, since the composer himself was an inveterate transcriber. Most of the programme recorded here consists of solo keyboard works rescored for a chamber formation – in other words, the performers have chosen an approach that is the contrary of Bach’s usual practice. A fascination for the timbral possibilities of the viola da gamba trio and a shared passion for Bach’s music prompted the Cellini Consort to create this original and personal programme. © Ramée
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Religieuze cantates - Verschenen op 14 juni 2019 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
After having explored the remaining cantatas of Johann Sebastian Bach’s ancestors, Vox Luminis and Lionel Meunier have undertaken here a recording, accompanied by instrumentals, of these sacred vocal compositions. They are pieces that connect us to the principles of the “spiritual concert” (Geistliches Konzert) and that, through their multi-parted structure, belong to the origins of the sacred genre of the cantata. It was through Johann Sebastian himself that we owe the knowledge of his musical ancestors. Around the age of fifty, he felt the need to collate and retrace his family tree, most likely originating from Hungary where the miller Vitus Bach always brought a cittern with him on his way to grinding wheat. The works of the Bach family presented here represent the first of the sacred German cantatas along with those of Bruhns, Buxtehude and Pachelbel. We can hear here the predecessors’ works that led to one of the first similar works by Johann Sebastian, his cantata “Christ lag in Todesbanden BWV 4”, was considered for a long time as one of the first compositions of its genre. In addition to its striking likeness to the form of cantata eponymous to Pachelbel, this composition contains numerous elements which can notably be traced back to the works of his ancestors. © François Hudry/Qobuz
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Klassiek - Verschenen op 14 juni 2019 | Naxos

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"Magna Sequentia I" is a unique sequencing of dance movements drawn from Bach’s keyboard works featuring pieces from the French Suites and Partitas. Whereas Bach’s suites typically comprise six to eight movements, Sonia Rubinsky has selected 19, compiled with a tonal logic that still keeps the structure of a suite. She has chosen several examples of each of the dance forms used by Bach so one can appreciate the dazzling variety of both style and mood. Enhanced by her historically informed performance, "Magna Sequentia I" offers fresh insights into Bach performance on a modern grand piano. © Naxos
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Kamermuziek - Verschenen op 7 juni 2019 | BIS

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In 1985 the Russian violinist Vladimir Spivakov published his own arrangement of the Goldberg Variations for a string trio at the time of the tricentennial anniversary of the birth of Johann Sebastian Bach. Dedicated to the memory of the Canadian pianist Glenn Gould who recently died, this deft transcription has since made a tour of the world and many recordings have flourished. When it came to recording their Goldberg, the Zimmermann trio (Frank Peter Zimmermann on violin, Antoin Tamestit on viola and Christian Poltéra on cello) decided to propose their own version of the string trio which was, according to the musicians, “neither an arrangement nor a transcription, but essentially a unveiling of Bach’s score”. The result is splendid as much is the exceptional capture of the three Stradivarius instruments used in this recording by the engineers of BIS. There is a pleasant “grainy” sound in the air between the notes and the perfectly balanced reverberations. A total success thanks to the addition of high-quality instruments, instrumentalists and technique. © François Hudry/Qobuz
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Klassiek - Verschenen op 7 juni 2019 | BIS

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Klassiek - Verschenen op 10 mei 2019 | Signum Records

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Klassiek - Verschenen op 3 mei 2019 | BIS

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Klassiek - Verschenen op 3 mei 2019 | Accentus Music

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Klassiek - Verschenen op 26 april 2019 | Supraphon a.s.

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The legendary Goldberg Variations are among the most frequently recorded Johann Sebastian Bach works; besides numerous versions for piano and harpsichord, there are recordings of transcriptions for other instruments, including the banjo. Even though at first glance the arrangement for wind quartet appears overly distant from the composer's original notion, when listening to it you may have the feeling that Bach himself might have had such an ensemble on his mind when writing the work. The reed instrument timbers wonderfully merge into joint harmony, while their shadings allow for tracing the leading of the individual parts within the polyphonic texture, which is most definitely an advantage as against the original keyboard version. The Aria and the 30 Variations afford sufficient scope for cantilena and foregrounding of the instruments' gracious colours, as well as for showcasing their uttermost virtuosity. The intimate universe of the Goldberg Variations is followed by the festive Suite in C major, BWV 1066, the earliest and the "most French" of Bach's four orchestral suites. The remarkable album has been made by four extraordinary musicians, superb soloists and chamber players, who have adorned some of the most renowned orchestras, including the Berliner Philharmoniker and the Czech Philharmonic. The Goldberg Variations in the lovely colours of woodwinds... © Supraphon
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Klassiek - Verschenen op 19 april 2019 | Supraphon a.s.

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Concertmuziek - Verschenen op 12 april 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Over the past five years, pianist Anna Vinnitskaya has made three Alpha recordings dedicated to Shostakovitch, Brahms et Rachmaninov. Evgeni Koroliov is a great master of the piano, a great Bach specialist, whose recordings of Bach are an acclaimed benchmark. His piano duo with his wife, Ljupka Hadzi-Georgieva, has made its mark over the past few years in all the major international concert venues. Also a highly reputed teacher, Koroliov was Anna Vinnitskaya’s professor at Hamburg. ‘Though I no longer study with him, I still meet and talk with him several times a week,’ she confides. ‘That helps me further in my development, not just as a pianist but as a human being.’ These three Slavonic pianists, who for some time have been aiming to record the Bach concertos as a team, decided to invite a German ensemble that is itself highly expert in Bach interpretation, the Potsdam Chamber Orchestra; they recorded this double album in a legendary venue where some of the greatest artists have recorded: the Jesus-Christus-Kirche in Berlin. © Alpha Classics
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Klassiek - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Klassiek - Verschenen op 12 april 2019 | deutsche harmonia mundi

Hi-Res Booklet
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Kamermuziek - Verschenen op 12 april 2019 | Dynamic

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Duo´s - Verschenen op 29 maart 2019 | Erato

Hi-Res Booklet
On this record, Renaud Capuçon and David Fray decided to turn their back on the musicology-inspired understanding of baroque music. Enough of “the dictatorship of the historically informed.” They chose instead to play this music from the heart, just as the masters did in the previous century. Their choice is sincere in a field of numerous conflicts between schools of thoughts. Six sonatas for Violin and Harpsichord was composed by Bach when he was at the court of Coethen. It was especially admired by Carl Philipp Emanuel, the Cantor’s second son. As often happens, however, the autographed manuscript has disappeared and it is through series of copies that we know it today.  It was published for the first time in 1804, fifty years after Bach’s death. The six sonatas are written according to Corelli’s rules. They imagine a new type of dialogue in the chamber orchestra where keys are not in the background. The writing is precise, expressive, and rhythmical. © François Hudry/Qobuz