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Piano solo - Verschenen op 7 september 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Concerten voor viool - 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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Kamermuziek - Verschenen op 17 augustus 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
What do you mean, “Six evolutions”? It’s an intriguing title, almost esoteric… The cellist Yo-Yo Ma, who needs no introduction after a worldwide career of some fifty years, pens here his third (and ultimate, according to him) recording of Bach’s Solo Cello Suites. The first, while he was in his twenties, gave rise to enthusiasm, the second—in his forties—gave rise to emotion, so what will this final vision give rise to, now that he is in his late sixties? Serenity and joy, probably, and the completion of a triple discographic evolution. That being said, we still cannot explain the “Six evolutions”, and you will have to dive into a small corner of the accompanying booklet to find an indication, giving little more information, it is true, since it comes with no clarification: 1) Nature is at play, 2) Journey toward the light, 3) Celebration, 4) Construction/Development, 5) The struggle for hope, and 6) Epiphany. Well… Whatever it be, and despite what he said—and the amazing quality of this interpretation—let’s meet in 2038 to find out if he doesn’t decide to give a new interpretation in his eighties! © SM/Qobuz
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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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Klassiek - Verschenen op 24 februari 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Gramophone Award - Gramophone Editor's Choice
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Kamermuziek - Verschenen op 26 oktober 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 étoiles de Classica
During the course of a full career, which justly earned him the name of "prince of baroque violinists", Giuliano Carmignola developed a remarkable vision of Bach's works for solo violin. Carmignola, a student of Szeryng and Milstein, knows this repertoire inside and out, creating a feeling of spontaneity and improvisation while remaining closely faithful to Bach's writing. He uses a discreet but present vibrato beautifully (a far cry from some other baroque musicians who step much further back from the material), and he favours a free approach to rhythm and an expressive style that highlights all the colours and subtleties of Bach's phrasing. His playing is influenced by the historical techniques unearthed by modern musicology, but it is also profoundly original, lyrical, and moving. The three Sonatas and three Partitas date back to the 1720s, the era of the great instrumental masterworks known as the Brandeburg Concertos, the First Book of the Well-Tempered Clavier and the Cello Suites. The sonatas take the form of church sonatas – four movements, slow-fast-slow-fast – and the partitas borrow from the old-style dance suites in five, six or even eight movements. © SM/Qobuz
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Klassiek - Verschenen op 28 oktober 2016 | Warner Classics

Hi-Res Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 26 oktober 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Not just restricted to the baroque repertoire, Japanese violinist and violist Shunsuke Sato (also written as Shunske Sato) does not hesitate to play some of the most contemporary works, many of which he wrote for himself. This means that his own way of playing Bach benefits from both teachings - the art of playing baroque on instruments and with ancient bows, and the art of playing in a contemporary style. This is, no doubt, what makes his reading of Bach so wonderful as he searches for pure beauty, making the instrument sing and linking the phrases with such coherence. Accompanying him, we find the wonderful Swiss ensemble il pomo d’oro (all lowercase) who embrace these musicologically indisputable teachings with a tone that sometimes even sounds romantic. In truth, Bach’s music often flirts with more tender accentuation, for example in the slow movement of Concerto for two violins, which Sato plays here with Zefira Valova, a violinist from the ensemble. It should be noted that the ensemble also seeks to rediscover the most intimate sounds that Bach could have conceived in these concertos, some of which were undoubtedly written to be performed at Café Zimmermann: one musician per desk! The resulting sounds are hugely different from other recordings which are sometimes performed by orchestras that are far too large for this work. © SM/Qobuz
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Duo´s - Verschenen op 29 januari 2016 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Gramophone Editor's Choice
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Klassiek - Verschenen op 24 februari 2017 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 5 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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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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Klassiek - Verschenen op 19 januari 2015 | Deutsche Grammophon (DG)

Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
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Klassiek - Verschenen op 26 augustus 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 5 oktober 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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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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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 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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Klassiek - Verschenen op 22 januari 2016 | Warner Classics

Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
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Kamermuziek - Verschenen op 30 september 2016 | Arcana

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice