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Volledige opera's - Verschenen op 18 oktober 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The remarkable Hypermnestre by Charles-Hubert Gervais is the latest unremembered early 18th-century French opera to be recorded afresh for Glossa, and conducted by György Vashegyi. Gervais was a contemporary of Campra and Destouches, learning from Lully and paving the way for Rameau and, like Marais and François Couperin, open to the Italianising trends of “les goûts réunis”. A high-quality libretto from Joseph La Font tackles the story of Hypermnestra which proved so popular in the early eighteenth century. The Glossa recording contains both the original fifth act and the major revision of it from 1717 and Vashegyi drives the whole tragedy expertly to its bitter (and not-so-bitter!) end. Musically, this “tragédie lyrique” provides powerful opportunities for the trio of leading characters, here taken by Katherine Watson (Hypermnestre), Thomas Dolié (Danaüs, her father) and Mathias Vidal (Lyncée, her betrothed), but they are ably supported by Juliette Mars, Chantal Santon-Jeffery, Manuel Núñez Camelino and Philippe-Nicolas Martin. No French opera of this time would have been complete without a generous helping of choral or instrumental music and Gervais – a master of melody, harmony and orchestration – serves these up in a dazzling set of divertissements and festive set pieces full of dances (including a massive passacaille); all this performed with great stylistic awareness and vivacity by Vashegyi’s Orfeo Orchestra and Purcell Choir. © Glossa
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Volledige opera's - Verschenen op 5 juli 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 2 augustus 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Koormuziek - Verschenen op 5 juli 2019 | Carus

Hi-Res Booklet Onderscheidingen 5 de Diapason
A brilliant conclusion to the first Heinrich Schütz complete recording. With the "Psalmen & Friedensmusiken" (Psalms & Music for Peace), Hans-Christoph Rademann and the Dresdner Kammerchor bring this groundbreaking project to a magnificent close. The recording features mostly unknown, but particularly sumptuous and mostly multi-choral works, which Schütz wrote between 1618 and 1648 for important political occasions or thanksgiving celebrations. Groups of soloists and choristers create a colorful sound experience in interplay with strings, trombones, cornetts and viols. A truly worthy conclusion to this award-winning series. © Carus
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Wereldlijke vocale muziek - Verschenen op 25 oktober 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
 Much gossip has surrounded the double murder committed by Carlo Gesualdo, who killed his young wife and her lover when he caught them in flagrante delicto. The remorse he felt for this atrocious crime is said to have inspired the Neapolitan composer to write new harmonies, using and abusing scraping and characterful chromatisms. Paul Agnew takes aim at this widespread belief, contending that "this aristocratic double murder only indirectly influenced the musician's life." In a very interesting introductory text, the "Associate Musical Director" of the Arts Florissants sets the figure of Gesualdo back into his historical context, explaining just how his tormented psychological state would have fed into his own musical evolution, alongside the musical journeys of his peers. The same line of argument is also made by musicologist Denis Morrier in his analysis of the two first Books of Madrigals, which are presented here: "At once visionary and conservative, eccentric in language and conventional in form, these works have fascinated musicians and commentators across the ages", he writes.Following the recording of 17 madrigals from Book IV to Book VI, conducted by William Christie in 1988, this new album marks the first stage of a complete recording of Gesualdo's Madrigals, which are to be performed across three seasons at the Philharmonie de Paris. Passionate, violent, dark and burning with meaning, Gesualdo's music touches the heart and speaks to us of the doubts and contradictions of the human soul. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 5 april 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists. The version of this “ballet heroïque” – supplied with an anti-colonial, anti-clerical manifesto by librettist Louis Fuzelier – selected by Vashegyi is the 1761 revision, a mere decade or so before the irruption onto the Parisian musical scene of the likes of Gluck and Grétry. Rameau’s score had undergone frequent adjustments and improvements since its première a quarter of a century earlier, and the performing edition for this recording, prepared for the Rameau Opera Omnia by Sylvie Bouissou (who also provides a booklet essay here), offers a vision of this work which is more theatrical, fluid and concise than hitherto. Just in themselves, the names of Chantal Santon-Jeffery, Katherine Watson, Véronique Gens, Reinoud Van Mechelen, Jean-Sébastien Bou and Thomas Dolié (sharing out the dozen solo roles) augur well for a glorious exploration of the prologue and three entrées ahead. Recently, they have also, in conjunction with the Centre de Musique Baroque de Versailles, been working on questions of tempo and how to perform Rameau’s sequences as the composer intended. Vashegyi brings a consummate understanding of Rameau’s galante style to the proceedings, following two previous Ramellian Glossa outings (Naïs and Les Fêtes de Polymnie). © Glossa
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Missen, passies, requiems - Verschenen op 6 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Brahms’s Requiem, completed in 1868, draws on the legacy of his forerunners, Heinrich Schütz and Johann Sebastian Bach. In setting texts from the German Bible, it deliberately departs from the models of the Catholic liturgy and imposes a sorrowing yet consolatory meditation on death and the Last Judgment, in the manner of a poignant and grandiose cradle song for the dead. © harmonia mundi
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Concerten voor blaasinstrumenten - Verschenen op 22 november 2019 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason
After "Waiting for Clara", which focused on the music of Brahms and Schumann, this second album on NoMadMusic from the clarinetist Julien Hervé looks back another few years, to the apex of Classical style, with Mozart’s Quintet and Concerto. After discovering the instrument later in his life, Mozart fell entirely in love with it and dedicated these sublime pieces to it. This hedonistic, luminous programme, recorded live, offers us the opportunity to discover - or rediscover - two of the greatest masterpieces in the clarinet repertoire. © NoMadmusic
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Vocale muziek (wereldlijk en religieus) - Verschenen op 3 mei 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
Here’s a remarkable recording showcasing a little known aspect of Brahms’ genius: his sacred choral music. As a choirmaster in Detmold, Hamburg and Vienna, he left behind an enormous amount of choral works, both sacred and secular. Composed based on extracts from Hölderlin’s famous epistolary novel Hyperion, the Song of Destiny (Schicksalslied) opens this splendid album with an atmosphere reminiscent of A German Requiem. The first two verses picked by Brahms invoke the carefree and peaceful world of Ancient Gods, while the third ends with a dramatic illustration of human destiny. This contrast is a recurring theme throughout Brahms’ literary choices, and makes up the backbone of this recording.Conducted with great suppleness and inwardness by Gijs Leenaars, the works featured in this great album evoke Ancient Greece, a leitmotiv of German romanticism, as well as a form of angst towards life, with unanswered existential questions regarding suffering and pain inflicted by an all-powerful God. This programme alternates between works for a cappella choirs (the excellent Berlin Radio Choir showing an exceptional range of nuances) and others intended for orchestras (Deutsches Symphonie-Orchester Berlin). © François Hudry/Qobuz
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Kamermuziek - Verschenen op 12 april 2019 | Colin Currie Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
The third album on Colin Currie’s label celebrates the percussionist’s artistic relationship with the American cultural icon Steve Reich. Programmed and performed at the composer’s request and under his supervision, this album is essential for any Reich fan, capturing a group of truly world-class performers at the peak of their powers. For this recording, Colin conducts and performs with the Colin Currie Group and their long-standing collaborators Synergy Vocals. Steve Reich himself joined Colin on stage to perform Clapping Music. © PIAS
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Concerten voor klavier - Verschenen op 4 oktober 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Following two stunning projects with his spouse, the cellist Marie-Elisabeth Hecker, Martin Helmchen started a solo collaboration with the label Alpha Classics, publishing a remarkable version of the Variations Diabelli, one of the best in recent years, and certainly better than the one by Gorini on the same label. As part of the year of Beethoven, he has teamed up with conductor Andrew Manze for a complete recording of the Concertos by the Master of Bonn. This first volume sets the tone.From the first movement of the Second Concerto, we are gripped by the speed of the ensemble, the resurgence of a revitalised musical spirit, a supreme musicality: in sum, a celebration of the feverish creativity of the Master of Bonn. After this allegro which is truly "con brio", a major contrast is achieved with the Adagio where Martin Helmchen's singing is reserved, with a lyrical tenderness that recalls Mozart's later Concertos. But there is also something profoundly modern here, in that accumulated sense of waiting, of "suspense" and suspension, which are the hallmarks of the young Beethoven.In the Emperor, recorded at the Berliner Philharmoniker, Helmchen's piano continues to bring opposites together – this mix of impetuosity and tender lyricism – without ever feeling forced. The lively, sensitive orchestra, conducted by Manze, provides a sweeping breadth that Martin Helmchen must have long dreamt of. Amidst the whole swelling ocean of Beethoven, this new release is not to be missed. © Pierre-Yves Lascar/Qobuz