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Klassiek - Verschenen op 23 mei 2015 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 16 juni 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Record of the Month - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Volledige opera's - Verschenen op 22 juni 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Qobuzism - 5 Sterne Fono Forum Klassik
Why yes, it is still possible to discover Bernstein scores, or in this case the chamber version of A Quiet Place, adapted by Garth Edwin Sunderland, conducted and recorded for the first time by Kent Nagano, at the Montreal Symphony House. The final stage score by the American composer, first performed at the Houston Grand Opera in 1983, it was revisited by the librettist Stephen Wadsworth, and the composer who added several fragments from the one-act piece Trouble in Tahiti, from 1951; this addition would see two new performances (the Scala in Milan, and Washington). Another draft – this one definitive – was performed at the Vienna Opera House, conducted by the composer, in 1986. Fascinating in more ways than one, rather like a modern-day Intermezzo by Strauss, the work depicts American society by way of an existential crisis faced, first by one couple, (Trouble in Tahiti) and then by one family. Bernstein borrowed from Mahler for the structure, with a final movement whose "grave nobility" recalled the final movements of the Third and NinthSymphonies by his much-admired forebear. As is often the case with this composer, Bernstein's mix of styles (jazz, chorale, Broadway, Mahler, Berg, Britten, Copland…) provides an explosive cocktail, which has about it more of a musical conversation than grand opera – and, paradoxically, that's what makes this work so unique... And so charming. This is well worth a re-discovery, this time under the baton of Bernstein's faithful former pupil, Kent Nagano, at the head of top-flight solo singers, who point the way to that "quiet place", where "love will teach us harmony and grace". © Franck Mallet/Qobuz
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Klassiek - Verschenen op 5 februari 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 5 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 3 november 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
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Operafragmenten - Verschenen op 23 februari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice - Diamant d'Opéra - Choc de Classica - 5 Sterne Fono Forum Klassik
With his ensemble Pygmalion, Raphaël Pichon has written the listing for this album in the form of a "pastiche" of a Mass for the Dead, a Requiem both sacred and profane. While it is a long way from having all the defining traits, it does possess all the outlines: Introit, Kyrie, Gradual, Sequence, Offertory, In Paradisum... The idea came about after a recent discovery, in the Bibliothèque Nationale of an anonymous requiem mass from the 18th century, in which the writer constructed a "parody" based on musical extracts from Castor and Pollux and the Fêtes de Paphos by Jean-Philippe Rameau. Note that the term "parody" doesn't necessarily imply satire or mockery: it refers to the practice of taking up older music and setting new words to it. This fusion of sacred music (the mass) and profane music (lyrical tragedy), a common practice during the Enlightenment, was a procedure that Pichon wanted to take up. In French society at the time, when Catholicism was the norm, where the political system was monarchical rule by divine right, the representation of ancient pagan Hell on theatrical stages seemed to betray a fascination in the beliefs of the ancients. And so this programme melds together pagan fable with a Christian imaginary, where Hell takes on different faces. It is the place of unjust and eternal torment, a place of privation where a couple is separated, one half kept in Hades. But, in the lyrical tragedy, Hell is also a place of perdition: obscure forces unleashed in Sabbath rites, a Satanic vision which unearths the darkest depths of the human soul... Stéphane Degout is the author of this tragedy, bringing together such varied characters as Phaedra, Pluto, and the Parcae. The composers whose music is put to use are Rameau and Gluck, with a single borrowing from Rebel: it would have been a shame not to mention his singular Chaos (taken from Éléments), which starts with a dissonant chord containing the seven notes of the scale of D minor. © SM/Qobuz
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Klassiek - Verschenen op 26 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
London in the 1730s. Musical life was flourishing around the figure of Handel. The Saxon composer also served as director; at the height of his fame, he surrounded himself with the finest London musicians, and was joined by many foreign composers to occupy the long breaks between the acts of his lyric works. Their musical interludes accompanied lavish dinners, during which Mr Handel escaped from the pit to indulge his gourmet tendencies. Quite a programme! © harmonia mundi
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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
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Klassiek - Verschenen op 27 januari 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 25 augustus 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Here’s a repertoire that everybody knows about yet is completely neglected: the Bach cantatas. Granted a few have gained some importance, mostly thanks to the vocal qualities of singers who have seized it for a few decades – Fischer-Dieskau and Elly Ameling to name a few – while some complete works adorn aficionados’ collections. There is however enough content in these cantatas to “make up” about a dozen Passions or Oratorios on par with some of those we already know. Bach himself didn’t refrain from drawing from them to recycle arias, ensembles, choirs and sinfonias. Among some of the most famous, honoured in the 1950s by Fischer-Dieskau, are two cantatas for baritone: Ich will den Kreuzstab gerne tragen (1726) and Ich habe genug (1727), both written with oboe and string accompaniment. It’s precisely with this roster in mind that the Freiburger Barockorchester serves Matthias Goerne, a disciple of Elisabeth Schwarzkopf and… Dietrich Fischer-Dieskau, him again! The German baritone, a regular on the world’s most prestigious scenes, doesn’t refrain from lending his immense voice to this almost-chamber music by giving it a character far removed from the lyrical style required by Berg, Wagner or Strauss. In addition, still with the oboe in mind, the recording includes the Concerto in A Major for Oboe d'amore BWV1055R, a modern reconstruction from a keyboard concerto in A major, which there is every reason to believe was itself recycled by Bach from an older concerto for oboe d'amore. The remarkable Katharina Arfken plays the oboe for the cantatas and the oboe d’amore for the concerto. © SM/Qobuz
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Concerten voor klavier - Verschenen op 15 mei 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik
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Liederen (Duitsland) - Verschenen op 31 maart 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica - 5 Sterne Fono Forum Klassik
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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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Klassiek - Verschenen op 19 januari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 6 november 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 15 juni 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 8 februari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
With both of their lives cut short before they reached forty years of age, one from tuberculosis and the other from syphilis, the piano sonatas that Weber and Schubert left behind have either long been forgotten or are unheard of among pianists and the public. Luckily, this has been rectified for Schubert’s works thanks to pioneering pianists such as Artur Schnabel and Wilhelm Kempff, but more must be done for the works of Carl Maria von Weber who is still primarily known for his opera Der Freischütz (The Marksman). It takes an exceptional musician to bring forgotten music back to life and that is exactly what Paul Lewis does in this new album after having previously released fantastic interpretations of Beethoven and Schubert under the same French record label, Harmonia Mundi. Weber was around at the same time as Beethoven and was one of the first piano virtuosos from the beginning of the 19th century. His dazzling technique can be heard in this Sonata No.2 in A flat major which is both a virtuosic and a classic work that opened the door to romanticism for many other composers thereafter. The Sonata in B major, D 575 is actually from the same year that Schubert celebrated his twentieth birthday and sought independence from his parents to become a prolific composer, despite all the risks that came with a career as an independent artist at that time. This captures the beginning of romanticism and is an original and exciting pairing between two composers who appreciated each other’s work, but whose styles were diametrically opposed: the bright lights and panache for Weber and the melancholy soul for Schubert. © François Hudry/Qobuz
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Klassiek - Verschenen op 9 november 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
With the exception of one sole Rossini piece – and even then, the text isn't very Italian as it's the Cats' Duet whose only lyric is "miaow" – this whole programme is dedicated to French works, mostly vocal, with a couple for solo piano. Sophie Karthäuser and Eugene Asti have set off on a wild goose, pig, dromedary, cricket, crow, and fox hunt, keeping an eye out for many other furry, feathered and scaly beasts along the way, with Ravel, Chabrier, Offenbach, Hahn, Bizet, and Poulenc for company – all of whom have written music for creatures great and small, real and fantastical. Alright, on occasion these animals might not be animals, strictly speaking, like Satie's Statue de bronze (although the statue in question is of a frog), or The Little Shepherd from Children’s Corner by Debussy. Another rarity: there are three melodies from Poulenc's Bestiaire which have been left out of most recent editions: La Colombe, La Puce and Le Serpent. © SM/Qobuz
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Klassiek - Verschenen op 15 maart 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
After "Inventions", "Revelations" is the second volume in a complete set of the Beethoven quartets that breaks new ground: it aims to regroup the works according to their position within the three broad creative divisions of the composers life the formative years, the heroic period and the late period. This programme assembles the median quartets, in other words the works that prolonged and consolidated the stylistic innovations outlined at the beginning of each of these creative periods. © harmonia mundi