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Concertos pour violon - Verschenen op 23 september 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Gramophone Editor's Choice - Le Choix de France Musique
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Concertos pour violon - Verschenen op 15 oktober 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 4 étoiles Classica
1720: in his famous pamphlet entitled ‘Fashionable Theatre’, the composer Marcello ironized the excesses of the new Venetian opera. This landmark pamphlet was published anonymously as Benedetto Marcello, under the fictional editorship of ‘Aldaviva Licante’ - undoubtedly an anagram of A. Vivaldi – ridiculing the operatic world of the time. It took on singers puffed up with pride, uneducated librettists, composers seeking dramatic effects, in short, everything that the musical world then thought about as original, unusual, new, experimental, shocking, weird, baroque, and, in a word, Italian! Vivaldi was one of Marcello’s favourite targets, continually lampooning the Red Priest and his virtuoso violin escapades. It is precisely these escapades that the violinist Amandine Beyer and the Gli Incogniti ensemble have chosen for their rich repertoire: detuned violin concertos (in the manner of Scordatura), violin ‘in tromba’, that is to say violin in a tone that betrays a scraped sound, not to mention more singular works in which Vivaldi leaves the soloist a freedom that gives real heart to the joy of improvisation. This is what really marks out Amandine Beyer, who performs in accordance with the habits of the composer, giving a clear, historical picture of her treatment of the ornaments. So, for the almost implausible Circus Maximus track, it is as if you were actually there, attending the Carnival of the year 1720! © SM/Qobuz
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Musique concertante - Verschenen op 4 november 2014 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Prise de Son d'Exception
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Musique concertante - Verschenen op 14 mei 2012 | Ambroisie

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Hi-Res Audio
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Concertos pour violon - Verschenen op 26 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
To say that the concerto was one of Haydn's favourite forms would be a bit much, daft even. The man wrote a good hundred symphonies, dozens of quartets, trios, piano sonatas, fifteen or so masses and as many operas, and oratorios... Currently we know of three violin concertos (others being lost or apocryphal), two cello concertos (others... see above), one horn concerto, one for trumpet (there are no others) and at most about ten concertos for piano. Musically, they are fascinating works, but the level of technical skill they demand runs from moderate to a bit tricky. But the First Cello Concerto is not without its moments of difficulty, such as the rapid high notes in the final movement, and it offers some real fireworks. It should also be noted that most of the concertos were written for Esterházy, specifically for the first soloists in the house orchestra of Konzertmeister Luigi Tomasini and first cellist Joseph Weigl. The orchestral accompaniments offered the soloists some fine backdrops: in particular in the second movement of the Concerto for violin in C Major , with the orchestra's string section accompanying the solo violin with a sort of lute-playing that becomes a kind of serenade à la Don Giovanni. Amandine Beyer takes up the violin for this recording, while Marco Ceccato deals with the cello solo – both members of the Gli Incogniti ensemble ("The Unknowns"), a fluid grouping that plays without a conductor. Their leaderless style means that the musicians all listen to one another: it's a lovely way of making music (and sadly rare in the world of orchestras). © SM/Qobuz
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Musique concertante - Verschenen op 6 januari 2011 | Alpha

Hi-Res Booklets Onderscheidingen Diapason d'or de l'année - Diapason d'or
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Musique concertante - Verschenen op 24 maart 2015 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Musique concertante - Verschenen op 13 oktober 2011 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
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Concertos pour clavier - Verschenen op 13 oktober 2017 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Musique concertante - Verschenen op 9 december 2011 | harmonia mundi

Hi-Res Booklet Onderscheidingen Hi-Res Audio - Stereophile: Record To Die For
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Musique concertante - Verschenen op 20 mei 2016 | Musique en Wallonie

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Musique concertante - Verschenen op 11 mei 2018 | naïve classique

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Concertos for viola d'amore represent a fairly atypical part of Vivaldi's work, and he was probably the first composer to write pieces for this work in the solo concerto format. The viola d'amore was certainly well-liked for its soft, suggestive sound, which evoked the moods and climes of the orient thanks, in particular to its sympathetic strings which vibrate with those strings the player bows. But it was little-used because of its complex tuning and objective difficulties involved in playing it. In fact, the instrument would be tuned in different ways to fit the tonality of the piece being played – the famous scordatura, so finicky for the musicians – and it is believed that Vivaldi wrote these specifically for one of the musicians at Venice's Pietá: the famous Anna-Maria. Another characteristic of these concertos for viola d'amore, the rapid movements are also much longer and fuller than in most of Vivaldi's writing, for example in the seven string concertos which figure at the start of the album, or in the miniatures which were intended as showcases for the talent of the greatest possible number of soloists in the public concerts at the Pietá. A little curiosity is offered up here in the shape of the original concerto La Conca RV163, whose themes mimic the sound of the "conca", a kind of large marine conch used as an instrument since prehistoric times. The recording includes a conch being sounded at the start of the first movement by way of explanation. © SM/Qobuz
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Concertos pour violon - Verschenen op 28 september 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
Fabio Biondi had his work cut out for him with the complete recordings of Vivaldi's violin concertos, as the Venetian left behind more than 250 works for one, two, three or four violins. Volume VI here offers a group of six concertos written in Prague and Bohemia in the course of his stay there between 1730 and 1731.Today, musicology has become much more of a science, and it is possible to put a date on these manuscripts by means of a precise analysis of the paper used by the composer if the music doesn't speak for itself. The Antonio Vivaldi of these pieces retains the style for which he is known and loved across Europe. Fabio Biondi notes that as there are only a few hints of Bohemian music in these concertos, which are more resemblant of Vivaldi's younger work. We might conclude that while abroad, the composer was writing pieces which, while new, were destined for use by his beloved students in the Pietà.Venetian chroniclers from the time often wrote of Vivaldi's virtuoso violin playing, admiring the inventiveness that he brought to the cadenzas of his concertos (the section at the end of a movement which is left open for creative improvisation) and the fantasy that he worked into his improvisations. While we have no proof that Vivaldi was the soloist for his own works during his Bohemian trip, Fabio Biondi, a true connoisseur of Vivaldi's style, clearly aims to apply this spirit to his recordings, and nowhere more so than here. © François Hudry/Qobuz
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Concertos pour violon - Verschenen op 24 februari 2015 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or
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Concertos pour instruments à vent - Verschenen op 20 november 2015 | naïve classique

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
At the dawn of the 20th century, Naive music label decided to uncover and release some 450 of Vivaldi's works held at the National University Library of Turin - many of which had hardly had the honour of being recorded. This amazing collection is a personal library handwritten by Vivaldi, and is the largest collection of scores that belonged to the eighteenth century composer to have survived to the present day. The thirty-nine bassoon concertos by Vivaldi constitute the largest collection of works devoted to this noble instrument. Clearly, the creativity of Vivaldi was greatly boosted by the phenomenal flexibility and nostalgic sound of the bassoon, which is still remarkable in the way it can "imitate" the human voice. It should also be emphasized that Vivaldi, a violinist, was always very attracted to the instruments with deep range. So much so that apart from the considerable number of works he dedicated to his own instrument, it is for bassoon and cello that he composed the greatest number of works. It is Italian bassoonist Sergio Azzolini who offers these six concertos, the fourth component of an box set published by Naive. The richness and invention of Vivaldi makes for an exhilirating listening experience from start to finish. © SM / Q
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Concertos pour violon - Verschenen op 14 september 2004 | harmonia mundi

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Concertos pour clavier - Verschenen op 12 april 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
Chopin’s Piano Concertos are works of a twenty-year old composer and ambitious soloist. Powerful and challenging, their romantic dimension also carries sensitive effusions. This duality is highlighted here by an interpretation on period instruments in a chamber version. Choices that are as many clues to recognize the musicians from the Cambini-Paris Quartet and their accomplices: Pianist David Lively and Double bassist Thomas de Pierrefeu. Direct heir to Chopin’s piano teaching legacy, David Lively chose a vintage Érard piano to record both Concertos. Accompanied by a string quintet, he revives the tradition of the genre: before being performed in big concert halls, composers and pianists like Chopin played their latest scores in music lovers’ salons. The broad ambitus covered by the strings and the richness of the sound of the pianoforte respect the symphonic dimension of those two pieces. A musical quest for fidelity and authenticity to music and musicians, and a gift for the listeners! © Aparté
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Concertos pour violon - Verschenen op 11 december 2010 | Aparté

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Concertos pour instruments à vent - Verschenen op 16 augustus 2019 | Fuga Libera

Hi-Res Booklet Onderscheidingen Diapason d'or
Jean-Luc Votano, principal clarinet of the Liège Royal Philharmonic (OPRL), here presents a work by a ‘classic’ figure of the twentieth century, the Kammerkonzert for clarinet, string quartet and string orchestra of Karl Amadeus Hartmann (1930), along with two compositions of the twenty-first: Magnus Lindberg’s Clarinet Concerto, of which Votano gave the Belgian premiere with the OPRL, and Fantasme - Cercles de Mana by Johan Farjot. The latter work, scored for clarinet, viola, cello and orchestra, here receives its world premiere before being performed to a concert hall audience. An album that admirably reflects the virtuosity and musicality of one of the OPRL’s principal soloists. © Fuga Libera/Outhere
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Concertos pour violon - Verschenen op 24 augustus 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Chouchane Siranossian is a rising star of the baroque and classical violin, Jakob Lehmann a virtuoso violinist and orchestral director who frequently conducts Anima Eterna. Together, they embody what the Bruges orchestra and its founder, Jos van Immerseel, have decided to call the ‘Next Generation Anima Eterna’... Today they are presenting Mendelssohn’s Violin Concerto in its original version. “We wanted to take a look into Mendelssohn’s workshop. He struggled with his self-diagnosed ‘revision disease’ and always strove to work hard on himself and his creations” says Jakob Lehmann. Chouchane Siranossian keeps on : “It was a fascinating experience for me to discover historical research and its implementation on period instruments in collaboration with Anima Eterna Brugge. In my interpretation, I used exclusively the fingerings, bowings and other performance markings of Ferdinand David and Joseph Joachim, both of whom rehearsed the work with the composer.” This recording is rounded off with the Octet, also in its original version, which is longer and has many alterations in instrumentation, harmony and articulation... © Alpha Classics