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Kwartetten - Verschenen op 29 september 2017 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 26 mei 2017 | Les Belles Ecouteuses

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Piano solo - Verschenen op 14 maart 2014 | audite Musikproduktion

Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 7 december 2018 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
These were the days when France was considered a European beacon of art and culture. This symbol of refinement and sophistication is brilliantly embodied here by Le Concert des Nations conducted by Jordi Savall in a dream French-German arrangement that combines the music of Jean-Ferry Rebel and Georg Philipp Telemann, who express themselves in a supranational musical style to reach a sort of baroque dance climax.Savall gives leans heavily on the carefree splendour of Louis XV’s reign with these successive rococo ballets for which one can easily imagine the astounding dancing steps depicted by paintings from the likes of Watteau, Lancret and Hallé.Jordi Savall’s interpretation is simultaneously rich, skilful and extremely refined. The whole vocabulary for dance and decorum is used in these scores which rely on the very rhythms of that era: minuet, jig, rigadoon, passepied and gavotte, as well as, at times, a form of nostalgia inherited from the previous century in memory of the end of the Great King’s reign.This is a deep dive into the lavish world of the wealthy living in a perfect bubble that the French Revolution would brutally pop at the end of this Age of Enlightenment; an era of political and social reflection that saw the emergence of the idea of tolerance before ending in a bloodbath, a bloodbath from which the modern world was about to be born. © François Hudry/Qobuz
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Kamermuziek - Verschenen op 17 januari 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Kamermuziek - Verschenen op 17 januari 2020 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 24 augustus 2018 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
The twenty pieces which make up the musical collection the Codex Trujillo of Peru (compiled around 1780 by Baltasar Jaime Martínez Compañón, the cantor of Lima and later bishop of Trujillo), represent an exceptional case in the history of the indigenous music of the New World. This ensemble of Tonadas, Cachuas, Tonadillas, Bayles, Cachuytas and Lanchas, lets us to get to know the country's traditional music, or as one of the Cachua texts puts it, "al uso de nuestra tierra" ("according to the ways of our land") More specifically we get to know the songs and dances of the people of the "Viceroyalty of Peru" in the late 18th century.These songs were written to be sung whilst dancing, hence the title of the album Bailar Cantando. The majority of the words are in Castilian (the Peruvian dialect) but there are also some songs in Quechua. All these elements explain the very specific character of these songs, which are very different from Spanish songs but also different to the music of other parts of the New World from the same era. The subtitle, "Fiesta Mestiza en el Perú", "Mestizo fiesta in Peru" shows the interaction between "natives" and Hispanics. It was symbolic feast celebrated with the marvellous Codex, in which all the different tribes and castes that lived together in this rich and stratified society would participate. When the Spanish arrived in Peru, following in the wake of Francisco Pizarro in 1532, the indigenous population already had more than two millennia of rich culture. As a result, the musical practices in the second half of the 17th century were fusion of local traditions and foreign influence: Iberian but also African. Jordi Savall leads the Tembembe Ensamble Continuo with many different native instruments, alongside the Ensemble Hespèrion XXI and vocalists from the Capella Reial de Catalunya. © SM/Qobuz
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Kamermuziek - Verschenen op 12 januari 2018 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 9 februari 2018 | Evil Penguin Classic

Hi-Res Booklet Onderscheidingen 5 de Diapason
The cellist Pieter Wispelwey and the pianist Paulo Giacometti have decided to record six albums comprising the complete works for duet of Brahms and Schubert. In other words, the pieces written for an instrument and piano. The instrument in question could be the cello, or the violin, the viola, etc. Because can a virtuoso cellist really resist the temptation to dip their toes into other repertoires than their own? After all, we know full well that the composers themselves wouldn't hesitate to transcribe, or authorise a transcription, of their own work for other instruments. And so here is the fourth volume of this collection, which hinges on Brahms's Sonate Op. 78, which was first written for violin in G major, here transcribed into D major by Paul Klengel in 1897; as well as the First Sonata, originally for clarinet Op. 120, by the very same Brahms. Of the latter work, we know that the composer himself transcribed it for the viola, and this transcription formed the basis for Pieter Wispelwey's own re-reading - very close to the viola part, within which he has simply transposed certain uncomfortably high passages down an octave. By way of overture we have Schubert's Rondo in B minor (1826), written for violin and piano, here brought down an octave (or two) for cello, although the change doesn't make any difference at all to the harmonic perception. © SM/Qobuz
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Kamermuziek - Verschenen op 13 oktober 2017 | L'Encelade

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 4 mei 2018 | Challenge Classics

Onderscheidingen 5 de Diapason - 4F de Télérama
This is the third album for Challenge Classics from the excellent Israeli pianist Einav Yarden, who, having made the most of the world of Haydn, and before that Beethoven and Stravinsky, is now taking on the most complex figure in early German romanticism, Robert Schumann, by way of a repertoire that is in part fairly original (Drei Fantasiestücke Op. 111 to start) but also well-trodden (Fantasie Op. 17, Waldszenen) by his fellow musicians. The tough competition should not distract you, however, from this musician, who is still little known in these parts, a student of Leon Fleisher at the Peabody Conservatory, much beloved of Elisso Virsaladze, and who first trained in Israel. His performances of Schumann set themselves apart with their striving for structural clarity and ample phrasing, which sometimes presages Brahms, rather than a drive for lyricism or for sweetly febrile poetry. © Théodore Grantet/Qobuz The three works on this album span a period of fifteen years – years in which the young Schumann suffered forcible separation from his beloved Clara, followed by their marriage and a brief period of relative calm, to the increasing bouts of mental instability which were to close him off from the world around him until his death. The piano Fantasiestücke op. 111 was composed in 1851 during a time of deteriorating mental health and increasing disillusionment with his post as Music Director of the Düsseldorf Music Society. In contrast to the youthfully extrovert Fantasiestücke op. 12 of 1837, these three untitled pieces are “of a serious and passionate character”, as Clara described them, their bold harmonies intensifying their expressivity. The Fantasie in C major op. 17 is one of Schumann’s most powerful large-scale piano works, composed during the bitter period of his enforced separation from Clara. Schumann completed his cycle of nine forest piano miniatures, Waldszenen, in 1849, while struggling with increasing bouts of mental instability and depression. Each piece is headed by a descriptive title. These masterly tone paintings display Schumann’s genius in creating miniature images consummate in expression, characterisation and mood. © Challenge Classics
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Piano solo - Verschenen op 27 september 2018 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
Valentina Toth: “Although they were not musically trained, my parents taught me to love Bartók and Kodály. I treasured their music from the time I was young, and only became acquainted with Dohnányi’s work much later, when I came in contact with it by accident. It was romantic, virtuoso and incredibly well written for the instrument. What more can you ask as a concert pianist? And although he may only seem rather less distinctly Hungarian than Bartók, many aspects of his country are reflected in his work. I remember when I was working on the Ruralia hungarica, my father recognised many of the melodies from the songs he had learned as a boy.” As a composer, Dohnányi, whose oeuvre mainly consists of piano music, deep in his heart always remained a musician grounded in nineteenth-century Romanticism. Dohnányi wrote Ruralia hungarica in 1923 and gave it a real Hungarian touch by including a wide range of folk melodies in all movements. The Humoresken Op. 17 from 1907 date from when he taught in Berlin. They are basically romantic in nature and now and then reminiscent of Brahms’s piano music. As the name suggests, these are more or less light-hearted character pieces, in which he draws on musical forms from the eighteenth century. © SM/Qobuz
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Kamermuziek - Verschenen op 25 mei 2018 | EnPhases

Hi-Res Booklet Onderscheidingen 5 de Diapason
Out of around 350 works which are attributed to Tartini today, a group of sonatas, along with their isolated themes, sketches and hastily-jotted-down ideas stands out by virtue of the very long period of editing which they underwent (from the 1750s up to the composer's death twenty years later); their deliberate collation into a single manuscript by the author (never published in spite of its gobsmacking richness); but also by virtue of their unique instrumentation, with a solo violin, but no bass at all, either written or suggested. They seem to indicate a kind of intimate conversation with their author, who never intended to share them with anyone. He dubbed them "little sonatas", a name which probably owes as much to false modesty as it does to affection to these pages, whose experimental nature is made clearer at every turn. A number of other pieces, as well, remain annotated in the form of sketches, phrases thrown down on the page in a moment of inspiration, and a few of these phrases are taken up by violinist Matthieu Camilleri, to distil a very original ensemble of improvised pieces. He notes, though, that these improvisations have been "fixed" to an extent, on paper; and these are recording sessions, not a concert, so the artists can choose the best from several takes. The guided improvisation inspired by Tartini and in the style of the great musician, who was said to have conversed with the Devil. Camilleri gives us a number of reference points, in the form of a few sonatas originally 100% written by Tartini in this famous manuscript, which also involve a few moments of this improvised-noted element. It's a fascinating juxtaposition of two imaginations, two and a half centuries apart! © SM/Qobuz
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Kamermuziek - Verschenen op 21 september 2018 | Supraphon a.s.

Hi-Res Booklet Onderscheidingen 5 de Diapason
Viktor Kalabis (1923-2006), one of the most distinguished figures of 20th-century Czech music, wrote some eighty opuses, predominantly instrumental pieces, including for his wife, the world-renowned harpsichordist Zuzana Růžičková. His symponic works were performed by such high-profile musicians as Rojdestvenski, Sawallisch, Jiří Kout, Mácal, Ančerl, Václav Neumann, Manuel Rosenthal and Herbert Blomstedt, to name just a few. As the composer himself put it, his aim was to create music rooted in his country, music for educated listeners. Although he also drew inspiration from 20th-century classics, Kalabis arrived at a synthetic style of his own, an alternative to the rational compositional techniques – a Neo-Romantic alternative, akin to Neo-Classicism. Besides the first ever album of Kalabis's complete piano oeuvre (scheduled to be released in 2019), Ivo Kahánek and other leading Czech instrumentalists have recorded the composer's three sonatas for two instruments – cello, clarinet, violin. The one for cello reflects the dramatic events in Czechoslovakia between June and September 1968: the months of euphoria of the Prague Spring, followed by disillusionment and resignation in the wake of the Warsaw Pact's invasion, which for two decades to come would numb all hopes of freedom. The clarinet sonata (1969) too clearly refers to the time of its coming into being: drama, grief and sorrow, escalated into harrowing helplessness. The elliptical and coherent violin sonata (1982) places emphasis on the instrument's typical ethos – melodiousness, bright sound and soulfulness. After three releases featuring Kalabis's symphonies and concertos on the label Supraphon, the present recording affords yet another insight into the composer's musical universe. And the turbulent events of the recent past, up to Kalabi’s death in 2006, seems clearly reflected in his chamber music. © Supraphon
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Kamermuziek - Verschenen op 9 februari 2017 | Antarctica Records

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 24 november 2004 | Natives

Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 11 januari 2019 | Signature - Radio France

Onderscheidingen 5 de Diapason
Outstanding musicians in an exceptional programme, stamped with rhythmic energy from start to finish, featuring Florent Schmitt's Opus 68, Albert Roussel's Opus 28 et the Sonata for violin and piano of André Prévost (1934-2001).
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Duo´s - Verschenen op 18 januari 2017 | Coviello Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 24 maart 2015 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Piano solo - Verschenen op 23 februari 2018 | Fuga Libera

Hi-Res Booklet Onderscheidingen 5 de Diapason
For his fourth release on the Fuga Libera label, the pianist and fortepianist Piet Kuijken, professor at the Royal Conservatory of Brussels and the Antwerp Conservatory, presents a programme of music by Ludwig van Beethoven. The starting point of this double album is an artistic approach that is both pedagogical and musical: the first part contains pieces such as the Sonate Pathétique and the Sonata op.110 performed on a historical piano (a Tomkison original from 1808), while the second invites you to compare this with pieces of the same magnitude – the Appassionata Sonata and the imposing op.111, amongst others – played on a modern piano. A text written by the eminent musician invites you to follow the artist’s approach, within the same type of repertory when faced with these two different instruments. A sensitive and interesting album to help you discover all the different facets of this artist! © Fuga Libera/Outhere