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Klassiek - Verschenen op 6 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
The cello has always been favoured by French musicians, ever since its invention in the 1660s in Italy, where it gradually supplanted the viola da gamba. Two Parisians, the Duport brothers, wrote the first sonatas for the new instrument and published an Essai sur le doigté (Essay on Fingering) which laid the foundations of cello technique. It is still a touchstone work today. And so, the "French cello school" conquered the world, with, in the 20th Century, figures like Maurice Maréchal, Pierre Fournier, André Navarra, Paul Tortelier and Maurice Gendron: and today it is doing if possible even better, as many new talents hatch. An heir to this long line and herself a radiant and warm character, Emmanuelle Bertrand is passionate about all music: she worked on Tout un monde lointain with the composer (Dutilleux), and is inspiring and creating new works. For this recording, she has chosen a baroque cello, with gut strings, and a 415 Hz tuning. Here it is the instrument that sets the agenda, not the performer. She has discovered a new freedom in this approach to the pages that she has played, like all cellists, since her childhood. Matured over long years, her performance of Six Solo Cello Suites crystallises perfectly around this fine Venetian instrument of the early 18th Century. © François Hudry/Qobuz
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Klassiek - Verschenen op 13 september 2019 | Berlin Classics

Hi-Res Onderscheidingen 5 de Diapason
Céline Moinet is often asked why she decided to become an oboe player. She was adamant: she did not want to play a brass or stringed instrument or even a piano – it had to be woodwind. After having begun, as most children do, with the recorder, she turned at age 7 to the oboe, which had captivated her from the word go. On her new album she takes a look at Johann Sebastian Bach: "Here, the oboe becomes the narrator". Together with the prizewinning instrumental ensemble "l’arte del mondo" under Werner Ehrhardt she combines a historically-informed orchestral sound with her modern Marigaux oboe. The musicians have recorded Bach's three oboe concertos: BWV 1059, 1053r and 1055 as well as the sinfonias to the cantatas Weinen, Klagen, Sorgen, Zagen and Ich hatte viel Bekümmernis in which the solo oboe is the focus. "Bach's cantatas were my first port of call. They are a rich, sophisticated source of literature for oboists; one might say they are the quintessence of his music", says Moinet. Following on from her last album centred on Schumann's Romances she enters a very different sound world this time round, though not one that is a stranger to her: she heard Alessandro Marcello's Oboe Concerto very early on, the second movement of which Bach ornamented. "I have strong childhood memories of the work". © Berlin Classics
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Klassiek - Verschenen op 13 september 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 13 september 2019 | MUSO

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 13 september 2019 | Decca Music Group Ltd.

Hi-Res Onderscheidingen 5 de Diapason
Over the past three years, the Montreal Symphony Orchestra (a huge contributor to the Decca label since Charles Dutoit’s lead from 1977-2002) and Kent Nagano have been making an exciting series of recordings, focusing on rare works, namely Honegger-Ibert’s L’Aiglon and Leonard Bernstein’s A Quiet Place. Today, they continue their recording journey on American terrain, with a retrospective entirely dedicated to John Adams. They had left for unknown territory with Bernstein and now they return to town to celebrate one of the popes of minimalism. While Harmonielehre, a vast triptych composed in 1985 (a humble tribute to the early 20th century with perceptible influences from Wagner, Schönberg, Sibelius and Ravel) and the exciting fanfare Short Ride in a Fast Machine composed for orchestra in 1986 have been superbly championed by Sir Simon Rattle (EMI, Birmingham, 1993) as well as Michael Tilson Thomas (San Francisco, 2010-2011), few have recorded Common Tones in Simple Time (the composer’s first work for a large orchestra written in 1979) since Edo de Waart’s recording for Nonesuch in November 1986 at Davies Symphony Hall. The piece recalls Stravinsky’s Petrushka and Kent Nagano’s fluid and gentle touch is perfectly suited to this absolutely fascinating score. Throughout the other works in the programme the American conductor is consistent with his own rather “pointillist” style. In fact, Adams is almost like a modern transcription of Seurat’s paintings. This great clarity in the harmonic superimpositions also reveals the clear influence of Berg and Webern in The Anfortas Wound and allows for new balances in the incipit of the final part of Harmonielehre (Meister Eckhardt and Quackie), one of John Adams’ most striking scores, especially since the tempos and rhythms remain measured here (unlike Michael Tilson Thomas’s interpretation), giving a stirring new version of an unmissable major work. However, the greatest highlight of this anthology is still Common Tones in Simple Time, which almost sounds like a sonic representation of Van Gogh’s Starry Night. © Pierre-Yves Lascar/Qobuz
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Kamermuziek - Verschenen op 13 september 2019 | deutsche harmonia mundi

Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Klassiek - Verschenen op 13 september 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 20 september 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason
For his second album for the French label La Dolce Volta, following the magnificent “Album d'un voyageur” where he led us on a magnificent journey through Europe, travelling from Spain to Poland and exploring everything from the popular rhythms of Paul Ladmirault (Variations sur des airs de biniou) to Szymanowski’s Danses, here Florian Noack returns to Russian music - something which he has loved since his adolescence. Prokofiev has been haunting him since that age, when he watched the television broadcasts of the Queen Elisabeth Competition in 2003 and saw Prokofiev’s Second Concerto being performed by Severin von Eckardstein (who would later go on to win First Prize), marking a historic date in the history of the competition. With this new recording, Florian Noack composes a programme that alternates between relatively rare works (Tales of an old grandmother, Quatre Études, Op. 2) and more famous scores, in this case two absolute masterpieces of Prokofiev’s piano work. Composed between 1915 and 1917, the Visions fugitives form a catalogue of twenty short piano pieces inspired by the symbolist poet Constantin Balmont. The Belgian pianist’s interpretation is more tender and dreamy rather than sarcastic (Raekallio, Ondine 1989), worried (Gourari, ECM 2014, with her melancholic poignancy) or fierce (Mustonen, Decca). He concludes his recital with Piano Sonata No. 6, Op. 82, the first of the “war sonatas”, giving a performance with moderate but nevertheless firm contrasts. © Pierre- Yves Lascar/Qobuz
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Klassiek - Verschenen op 20 september 2019 | LSO Live

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 27 september 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
Bruno Rigutto performed a new recording, matured over time, of Chopin's Nocturnes, 40 years after his first complete recording of these pieces. His long-time attendance and his poetic approach to this corpus make this new album an exciting object. This second complete recording is enriched with the sheen that only time and long-lasting imagination can give to the performance. For the French pianist, playing Chopin's music has a mysterious aura. The performer's sensitivity has to resonate with the composer's affects. The alchemy is complete, the interpreter drawing from within himself the atmospheres to create subtle nuances and phrasings. Finally, the album is the mirror of the inner life of Chopin since it follows the chronological order of composition of the Nocturnes. So this is the soundtrack to Chopin’s life that we are following as we listen. The listener discovers or rediscovers Bruno Rigutto under the nocturnal rays of romanticism, which are infused with the works of one of the most endearing composers and pianists. © Aparté
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Klassiek - Verschenen op 27 september 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason
Michel Dalberto has had a unique career journey. An expert of French repertoire, exemplified with his tetralogy published on Aparté (Debussy, Fauré, Franck and Ravel), he also recorded the somewhat neglected first sonatas by Beethoven in a compilation published by Erato in the 1980s. However, he thereafter dedicated himself mainly to Schubert, saving the Appassionata, Moonlight and Opus 111 for later. This album signals the end of the wait for these iconic pieces in the year of an important anniversary for Beethoven, presenting them to the listener in chronological order. From the Pathétique to Sonata n°32, op. 111, Michel Dalberto seems determined to portray Beethoven as a classical and not a pre-romantic composer, as the musical history books are often known to do. There is a real emphasis on the thematic and motivic logic of the music here. Thus the deliberately slow tempo of the Allegretto of the Sonata n°14, op. 27 manages to deconstruct the score without totally stripping it of its substance. It’s followed by the Presto Agitato, a delirious sprint with devilish articulation which is divinely transparent despite the apprehension in the highs and lows. The formidable changes in register in Beethoven’s opus are interwoven seamlessly thanks to the narrative genius of the performer (Schubert’s influence is not too far away). Indeed, Opus 111’s first movement is remarkable. The Steinway is expectedly robust, cutting even, as the pianist creates moments of orchestral sonority and weightless playing. A result which leaves the listener awestruck. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 27 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 27 september 2019 | Supraphon a.s.

Hi-Res Booklet Onderscheidingen 5 de Diapason
Bohuslav Martinů wrote his Piano Concerto No. 4, “Incantation", in New York in the twilight of his life, when it was evident that he would never return to his homeland. The soloist featured on the new album, Ivo Kahánek, expressed his high opinion and affection for the work: “I personally consider Incantation to be one of the finest works of Martinů’s and one of the best pieces of Czech music in general, as well as one of the most singular compositions for piano and orchestra of the second half of the 20th century. All the facets, from motoric rhythmicity, through passion and tragedy, to dreamy surrealism, form together a truly breath-taking whole.” The selection of the soloist for the recording was by no means random. Kahánek has played the Incantation at prominent concert halls all over the world. The performance of the piece in Bamberg, captured on the present album, which will be launched within the Dvořák Prague festival on Monday 9 September 2019, has been lauded by the critics as revelatory. The studio recording of Antonín Dvořák’s Piano Concerto ranks among the most forcible returns to the composer’s original version of the work, forbearing the “effective and virtuoso improvements” carried out by its later arrangers. It showcases the tender and melodious music of Dvořák, who always strove to emphasise profound expression, giving it preference to instrumental impression. As Jakub Hrůša put it: “The concerto possesses immense power and beauty, representing an interesting task for the conductor, an equal dialogue, with the orchestra and the conductor always having something to offer.” The recordings were made in 2017 and 2019, in collaboration with a top-notch Bayerischer Rundfunk (BR Klassik) team, at the Joseph-Keilberth-Saal, the Bamberger Symphoniker’s home venue, whose acoustics are among the best in Europe. © Supraphon
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Missen, passies, requiems - Verschenen op 27 september 2019 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 4 oktober 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
So just who exactly is this mysterious Mathilde, whom this magnificent album by the Quatuor Arod is named after? She is a muse and her story is recounted to us through music. The sister of the composer Alexander von Zemlinsky, Mathilde was married to the painter and musician Arnold Schönberg. A whole community of avant-garde artists met each other through them, including Alban Berg, Anton Webern, Heinrich Jalowetz, Karl Horwitz, Erwin Stein and a young 23-year-old painter, Richard Gerstl, who pushes Schönberg towards painting and is taken under his wing. Everything shifted when Mathilde became Gerstl’s mistress, going back and forth between him and Schönberg, her legitimate husband. The love triangle ended tragically with Gerstl’s suicide: he hanged himself surrounded by his paintings. This unique story of friendship, love and death is bashfully told on this album through Webern’s Langsamer Satz, the Second Quartet by Zemlinsky and the Second Quartet with voices by Schönberg. Composed from poems by Stefan Georg, this last work is dedicated to Mathilde and here is sung by Elsa Dreisig. © François Hudry/Qobuz
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Klassiek - Verschenen op 4 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
The Haydn series continues with the Paris Symphony No. 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening to Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians – and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The record offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué, and to revive the success that they once knew. © Aparté
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Klassiek - Verschenen op 4 oktober 2019 | LSO Live

Hi-Res Booklet Onderscheidingen 5 de Diapason
Shostakovich at one point thought his Fourth Symphony was the best thing he’d ever written. Extravagant and challenging in equal measure, it’s a work of epic proportions, requiring over 100 musicians including large percussion and brass sections. Owing to Soviet censure, the work went unperformed for almost 30 years after it was completed, until in 1961 it was revealed as one of the significant milestones of the composer’s output, the work that solidified him as a master symphonist. © LSO Live
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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 11 oktober 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
Although he's alone on the cover, baritone Christian Gerhaher has given a lot of space over to soprano Camilla Tilling in his Schumann record. And so the original tones – and therefore the cycle's structure – are preserved. The voices mingle and their dialogue reminds us that these Lieder were presented to Clara like a wedding bouquet. The sound recording sometimes plunges both voice and piano into a maelstrom of noise. But happily, the performers offer an amorous reading of these poems borrowed from Goethe, or Rückert, or Burns. Both singers savour each consonant and give the poems a resounding, perfect pronunciation, and an unerring sense of diction (take Camilla Tilling's oh-so-sensual repetition of Kuß in Die Lotosblume, every bit as distracting as Margaret Price's), and of recital (the successive episodes of Hochländers Abschied take life in the hands of Christian Gerhaher, a virtuoso of nuance). With accompaniment from pianist Gerold Huber, they have created a very fine record that brings to life that marvellous poet of sound, Schumann. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 11 oktober 2019 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
Carl Czerny penned an astonishing amount of music, including the numerous potpourris, fantasies, teaching pieces and studies for which he became known. This recording features the delightfully entertaining Concertino in C major, Op. 210/213 (MS Op. 197), as well as the highly enjoyable Rondino, a work based on an enchanting theme taken from Daniel Auber’s opéra comique Le Maçon. A pupil and lifelong friend of Beethoven, Czerny was just 21 when he wrote the pastoral Second Grand Concerto in E flat major. Begun only twelve days after he had given the Viennese premiere of his mentor’s "Emperor" Concerto, the same choice of key seems a fitting homage to the grand master he so revered. © Naxos