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Klassiek - Verschenen op 27 juli 2010 | PentaTone

Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - Exceptional Sound Recording
At the helm of the Philharmonic Orchestra of Strasbourg from 2004 to 2011, German conductor Marc Albrecht has chosen three French compositions inspired by literature. As a prelude, and nod towards the conductor’s roots, is Goethe and his famous popular poème Der Zauberlehrling (“The Sorcerer’s Apprentice”) which through the music of Dukas and the Walt Disney film was popularised among thousands of children. Evoking a similar degree of childhood nostalgia, is Ravel’s musical adaption of Charles Perrault’s Les Contes de ma mère l’Oye (The Tales of Mother Goose), which enables him to exhibit all his orchestral magic and love for lost worlds. But the attraction of this offering lies mainly in the immense symphonic epic that is The Jungle Book, after the novel by Rudyard Kipling: the great Alsatian composer Charles Koechlin is a real mystery in musical history as his strength and originality remains completely underrated as he easily ranks among the greats. © François Hudry/Qobuz
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Symfonieën - Verschenen op 2 oktober 2015 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 20 maart 2020 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Klassiek - Verschenen op 7 februari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Using period instruments, Isabelle Faust and Alexander Melnikov breathe new life into these ‘sonatas for keyboard with violin accompaniment’, a tradition Mozart renewed from within, blazing the trail for Beethoven, Schubert and Schumann. The first volume was widely praised: ‘The greater similarity of tone between Faust’s sparkling violin and Melnikov’s glittering fortepiano (within an airier acoustic) results in a sound more akin to the jingling of small bells. It’s delicious’ (Gramophone). ‘In a world full of star violinists, all with technical facility and individual style, it’s rare to find one that everyone agrees is just – brilliant. Isabelle Faust is that violinist’ (The Strad). © harmonia mundi
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Klassiek - Verschenen op 31 januari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Many of us may have set goals for the new year, but harmonia mundi set theirs particularly high. The independent record label intends on killing two birds with one stone by launching an extensive Beethoven edition that spans from 2020 (one hundred and fifty years since his birth) to 2027 (the bicentenary of his death), in a series of new recordings by new musicians under the label. For years to come, this non-exhaustive edition will be a reflection of the interpretative trends from the 21st century. This first volume of the Complete Piano Concertos on period instruments (there will be another on modern instruments) brings together the two extremes of Beethoven’s repertoire, namely Concertos No. 2 and No. 5, the former of which was composed first. Kristian Bezuidenhout’s exceptional musicality renders the dispute over instrument manufacturing seemingly artificial and fruitless, as he is at ease playing both early and modern pianos. After an inspired performance of Mozart’s complete Sonatas, we follow him as he journeys through the Beethoven Concertos, working closely with the Freiburg Barockorchester ensemble, for whom Bezuidenhout and Gottfried von der Goltz have been in charge of artistic direction since 2017-2018. This may not be a ground-breaking endeavour but what sets it apart is the meticulous attention to detail from Kristian Bezuidenhout and conductor Pablo Heras-Casado with regards to articulations and dynamics. The same can also be said for their choice of cadenzas, which the pianist often reinterprets using the same instrument for the complete work, resulting in a modern rendition played on a Viennese Conrad Graf piano dating from 1824. Confronted with musical practices from the end of the 18th century, the music of young Beethoven comes alive as never before. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 17 januari 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Klassiek - Verschenen op 7 februari 2020 | Phi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Bach’s St. John Passion, with its famous opening chorus traversed by shadows and light, is a powerful musical and spiritual reflection. Dramatic, grandiose, complex, resolutely theatrical: there has been no lack of superlatives to describe this supreme masterpiece of western music. Philippe Herreweghe and Collegium Vocale Gent present an accomplished reading that reflects their knowledge of the composer, based on extensive research and deepened by countless concerts. Soloists Krešimir Stražanac and Maximilian Schmitt demonstrate the breadth of their talents in the roles of Jesus and the Evangelist. © Phi
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Klassiek - Verschenen op 11 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
Daniil Trifonov's journey around the world of Rachmaninov is at an end. The pianist has arrived safely into the harbour with Yannick Nézet-Seguin's Philadelphia Orchestra. This finale was inspired by the bells which are ubiquitous in the Great Russian soundscape. Alain Corbin explained their importance to the rhythmic and symbolic scansion of everyday life in 19th Century France in his book Village Bells. To the historian's analysis, we can now add the testimony of the pianist – who, like Rachmaninov, grew up in Novgorod. Russian bells leant Russian music its nobility and colouring of folk nostalgia. Daniil Trifonov hasn't forgotten this, as is clear from his piano transcription of the first episode of Les Cloches. He was wise enough to respect the operatic power of the score and the splendour of its orchestration: harp, celesta and flutes are all truly transformed into bells in the hands of a musician who stays true to the aura of disquieting oddness (with its shades of Edgar Allen Poe) which surrounds the first movement. His technique matches his capricious and bubbling imagination. While we might find ourselves yawning a little at the Vocalise, the first and third Concertos move us from thrilling ecstasies to tears of pleasure. A very fine record, in which the orchestra, perhaps a little distant, fulfils its role as a soundbox for the soloist. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 27 mei 2014 | Naxos

Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 7 februari 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
After the resounding success of Volume 1 (Gramophone Editor’s Choice, Preis der Deutschen Schallplattenkritik, Diapason d’Or, Choc de Classica, FFFF Télérama), the project to record the complete Sibelius symphonies continues with the Gothenburg Symphony Orchestra and Santtu-Matias Rouvali, whose career as a conductor is entering top gear: he has just been appointed Principal Conductor of the Philharmonia Orchestra in London. At the turn of the twentieth century, as Finland struggled to free itself from Russian rule, Sibelius and his wife faced several domestic dramas, including the loss of one of their daughters, Kirsti, to typhoid fever. The Second Symphony, written in the brilliant key of D major, seems to be marked by the events of the composer’s private life, but many of his contemporaries nevertheless saw it as a political manifesto! In 1898, Sibelius composed the incidental music for Adolf Paul’s play King Christian II, the story of the downfall of a king of Scandinavia (Denmark, Sweden and Norway) in the sixteenth century. The suite derived from it was successfully performed in several European cities. © Alpha Classics
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Symfonieën - Verschenen op 25 oktober 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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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 15 januari 2016 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 15 november 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
One never comes across any ordinariness when following Alexandre Tharaud’s career. This new album is as impressive in the originality of its conception as much as its meticulous musical delivery. The French pianist appears to be nostalgic towards two different golden ages: that of 17th-century music, and that of the French piano during the 1950s, specifically Marcelle Meyer’s inspiring playing which Tharaud remains motivated by. The “Versailles” which has attracted Alexandre Tharaud, and serves as the title for this recital is less Louis XIV’s opulent world of wonder and more of an intimate world of secret music. Without any difficulty, the pianist manages to make these pieces specifically written for the harpsichord his own, even going as far as inviting young harpsichordist Justin Taylor to join him for a rendition of Rameau’s Les Sauvages... for four hands on the piano! If the pianist Marcelle Meyer had recorded Rameau and Couperin in an era more liberal than today, Alexandre Tharaud has the audacity to go against musicological rules for the listener’s benefit. Of course, we are accustomed to Bach, Scarlatti, Couperin and Rameau on the modern piano, but Pancrace Royer, Robert de Visée, Jean-Henry D’Anglebert and Jacques Duphly are suddenly thrust into the limelight of this musical collection which incidentally highlights their relevance. © François Hudry/Qobuz
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Klassiek - Verschenen op 10 januari 2020 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
It has been a long time, and probably stretching all the way back to the now-distant, legendary concerts led by Carlos Kleiber in 1989 and 1992, since we have enjoyed a New Year's Concert of such quality. With the Latvian Andris Nelsons (known and liked by the Philharmoniker) conducting, this first concert of 2020 had a fluent elegance, a rhythmical verve which was both light and implacable, and a kind of song that allowed the Viennese strings to show off their incredibly silky texture and profound depth. Andris Nelsons is clearly very much at ease with this repertoire, and brings a very refined approach to this novel programme. Hits sit alongside lesser-known pieces, including Beethoven's Contredanses kicking off the German’s anniversary year with a bang. Nelson gleefully swaps his baton for a trumpet, his favourite instrument, and gets stuck into the Postillon Galop by the "Danish Johann Strauss", Hans Christian Lumbye. This original programme brings us Knall und Fall, a rapid polka from Eduard Strauss, Cupido, a delightful French (slow) polka by Josef Strauss and Joseph Hellmesberger's Gavotte and some other tasty Viennese treats making it into the New Year's Concert for the first time. The ebullient audience was also very keen to hear some more conventional favourites: and no-one was disappointed by the stunning rendition of the famous Tritsch-Tratsch-Polka, played at a diabolical pace, with phenomenal virtuosity from these Viennese musicians, who remain the unchallenged masters of this repertoire. © François Hudry/Qobuz
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Wereldlijke vocale muziek - Verschenen op 15 november 2019 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Christina Pluhar has long been interested in the vocal music of the 17th century, in particular that of composer Luigi Rossi born around 1597 in the beautiful province of Puglia. He was the titular composer to the Medicis in Florence before taking a job with Cardinal Barberini in Rome. In France, Cardinal Mazarin commissioned him to produce the first Italian opera written specifically for the French court. In a manner of speaking, Rossi is at the root of the productions that another Italian, Lully, would later write for Louis XIV.In 2005, Christina Pluhar had recorded the Lyra d'Orfeo, taken from Rossi's desk drawer, with her ensemble L'Arpeggiata, with the voice of Veronique Gens in all its splendour. But a legal problem arose which prevented its production as a record for nearly 15 years. With the lawsuit ongoing, Christina Pluhar completed her project with Arpa Davidica, a new original compilation of works by Luigi Rossi, which she and her assistants discovered in various libraries.Pluhar has selected a series of virtuoso, theatrical pieces geared closely to the lyrics, as Rossi would set to music the most beautiful poems of his day. Taking on the best voices of the moment, Cécile Scheen, Giuseppina Bridelli, Philippe Jaroussky, Jakub Józef Orliński and Valer Sabadus, Christina Pluhar has pulled out all the stops to bring enchanting and incredibly musically-rich material back to life. The few indications relating to the instrumental accompaniment left on the manuscripts leave the performers almost total freedom. They can imagine all sorts of instrumental combinations to link complicated melismas with the virtuosity of the vocal lines that the composer intended. The interpretation also works as a complete recreation. © François Hudry/Qobuz
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Klassiek - Verschenen op 15 november 2019 | Alpha

Hi-Res Onderscheidingen 5 de Diapason - Qobuzism
The final part of this intelligent and well-rounded triptych certainly deserves a Qobuzissime! It has been several years since we have been following this grandiose but relaxed duo, made up of violinist Lorenzo Gatto and pianist Julien Libeer. The Belgian pair have brought their complete collection of Beethoven’s sonatas for violin and piano to a close. There is a lot of spontaneity in this integral work, yet this freshness is not synonymous with offhandedness. On the contrary, the fruit of a well thought-out project, it unfolds as a thrilling story in three parts.The first volume opened like a stage curtain on this landmark of Beethoven with the iconic Kreutzer sonata, a strong score which trumps the expectations of the genre. The vehement drama of the first movement, slow and in a minor key, contrasts with the gentle nature of the second movement and confirms that the sonata is well and truly a format for two instruments on an equal footing and not just a support act to the piano, a Steinway in this instance.The second one delineated the milestones of an expanding genre. From the first to the last sonata, via the most popular nicknamed Spring, we bear witness to a general amplification of style. From Opus 12 to Opus 96, the form expands, the technical difficulty of playing increases and the light-hearted fun gives way to a more energetic rhetoric. For this second album, the duo chose the lustrous power of Chris Maene’s parallel-stringed piano. The instrument affords the necessary resonance to the interpretation of this sometimes outright zesty, sometimes tenderly subtle score.The third volume frames the Steinway’s radiance (Sonatas 6 and 7) with the more ample Maene piano (Sonatas 3 and 8) and is dedicated to the works conceived when the composer’s hearing began to falter. Paradoxically, this nightmare for Beethoven has brought about a gift for his listeners. Varied combinations of timbres, styles and character are constantly renewed in this cycle which Gatto and Libeer faithfully interpret throughout its entirety. Our award of recognition is also a retrospective on the first two milestones of this adventure which has valiantly held its promise. An important integral work to explore and encourage others to do so as well! © Elsa Siffert/Qobuz
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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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Klassiek - Verschenen op 17 januari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 2 september 2016 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason