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Klassiek - Verschenen op 22 maart 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
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Kamermuziek - Verschenen op 10 maart 2014 | Wigmore Hall Live

Onderscheidingen Gramophone Editor's Choice
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Missen, passies, requiems - Verschenen op 13 oktober 2017 | SDG

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique - 5 Sterne Fono Forum Jazz
So much can be said about this new recording featuring among others − but as the pièce de résistance − Bach’s Magnificat, performed by John Eliot Gardiner, that we simply don’t know where to start! In 1983 – already 35 years ago! – Gardiner gave his first vision of Magnificat BWV 234 in D major; here the version in question is the BWV 234a in E flat major, the original and initial version, the – extended – one Bach wrote as soon as 1723 while the BWV 234 version (more often played nowadays) only arose from adjustments made ten years later. Of course one can debate on the advantages of one over the other but for this recording, Gardiner put emphasis on the brilliance, vibrancy and stunning virtuosity imposed by the E-flat major tone and vigorous tempi, in other words: undeniably modern! Magnificat is preceded by the Mass in F major, one of Bach’s four Lutheran masses, proper gems that are too rarely performed. It’s worth noting that most movements are recycled from previous cantatas, but with thorough rewrites of course! You’ll also find one of Gardiner’s favourite cantatas, Süßer Trost, mein Jesus kömmt (Sweet comfort, my Jesus comes), BWV 151, composed for the Christmas period. With his English Baroque Soloists, his Monteverdi Choir and a broad group of soloists (the alto parts are given to a male voice, it’s worth mentioning in case… it’s not your cup of tea), Gardiner is once again standing on top of a great success.
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Concerten voor blaasinstrumenten - Verschenen op 19 januari 2018 | Accent

Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
Stefan Temmingh is a member of the new young generation of world-class recorder players. Born in Cape Town, he comes from a Dutch-South-African family of musicians and now lives in Munich. Being an early music specialist, he plays internationally with his baroque ensemble at renowned festivals and concert series, and can also be heard as a member of ensembles of all sizes in Europe, Asia and Africa. His fine playing is regularly compared to the style of the legendary Frans Brüggen. On this collaboration with the Capricornus Consort Basel, he makes use of his wide array of technical and musical resources to render a reference version of Vivaldi’s Recorder Concertos. © Accent
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Religieuze cantates - Verschenen op 28 januari 2014 | Phi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 4 étoiles de Classica - Exceptional sound - Hi-Res Audio
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Kamermuziek - Verschenen op 30 september 2016 | Arcana

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 2 juni 2017 | BIS

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 19 november 2013 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Klassiek - Verschenen op 1 april 2016 | Universal Music Division Decca Records France

Booklet Onderscheidingen Gramophone Editor's Choice
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Kamermuziek - Verschenen op 1 april 2016 | Avie Records

Onderscheidingen Gramophone Editor's Choice
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Kamermuziek - Verschenen op 8 juli 2013 | Wigmore Hall Live

Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 3 maart 2014 | Coro

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Hi-Res Audio
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Klassiek - Verschenen op 2 september 2016 | Champs Hill Records

Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 1 april 2014 | BIS

Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 14 juni 2019 | Ricercar

Hi-Res Booklet Onderscheidingen 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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Kamermuziek - Verschenen op 8 juni 2018 | Alpha

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
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Missen, passies, requiems - Verschenen op 20 september 2010 | Alpha

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Hi-Res Audio
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Religieuze cantates - Verschenen op 16 februari 2018 | Mirare

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Diapason d'or / Arte
The cantata Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself) BWV 22, holds a historic place in Bach’s work. Indeed he composed it while still in Köthen, as an audition piece for the position of Thomaskantor in Leipzig, and then conducted it on February 7th, 1723, maybe even singing the bass part himself. Famously the city council, unable to convince its preferred composers – Telemann, Graupner and two others –, decided to settle with “mediocre” Bach… The gospel of the day first announces his death and his resurrection by Christ and his disciplines. A modest orchestra: voices, strings, one oboe and continuo, but the musical content is – like in almost all of Bach’s cantatas – amongst the best he’s ever written. For the same celebration, Bach composed a new cantata the following year, Herr Jesu Christ, wahr’ Mensch und Gott (Lord Jesus Christ, true Man and God) BWV 127. But it has almost nothing in common with the previous piece: here Bach offers a very impressive reflection on physical death. Throughout his cantatas he called for a blessed death to free himself from the vicissitudes of life on Earth, but this now reveals how much he may have feared physical death itself. The aria ”Die Seele ruht” is one of these sublime moments suspended in time, an ineffable tintinnabulum, in which the soprano and the oboe dialogue on a harrowing theme while the flutes and string pizzicatos symbolise the passing of time with incredible beauty. Finally it’s with Die Elenden sollen essen (The miserable shall eat) BWV 75 that Bach started off his work in Leipzig, in St. Nicholas Church this time, as the cantatas were alternately performed in both churches. Probably because he wanted to start with a bang, he designed this cantata on a huge scale: fourteen numbers, divided in two parts. Of course Bach would have never been able to produce such vast and powerful partitions on a weekly basis, but there is a real substance to this Passion… and it’s with great passion that Philippe Pierlot, his Ricercar Consort and the soloists perform these masterpieces. © SM/Qobuz
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Concertmuziek - Verschenen op 26 september 2014 | Sony Classical

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 8 maart 2019 | PentaTone

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
On her first Pentatone album, pianist Tamara Stefanovich presents a highly personal selection of solo works by Bach, Bartók, Ives and Messiaen. Influences shows how these extraordinarily original and idiosyncratic composers let themselves be inspired by the exterior world, thereby demonstrating how authenticity comes from looking outside as well as inside. The repertoire spans from Bach’s embrace of Italian musical elements in his Aria variata alla maniera italiana, Bartók’s incorporation of folk elements in his Improvisations on Hungarian Peasant Songs, and Messiaen’s use of Hindu rhythms in Cantéyodjayâ to the collage of marching bands, sounds of trains and machinery, church hymns, ragtime and blues in Ives’ First Piano Sonata. In all cases, the exterior influences lead to deeply original and personal sonic galaxies. In that respect, the pieces presented here underline how identity results from a constant dialogue with our surroundings, ever changing and enriching our perceptions of ourselves and the world. © Pentatone