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Klassiek - Verschenen op 4 november 2014 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica
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Piano solo - Verschenen op 9 maart 2015 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica
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Kamermuziek - Verschenen op 27 september 2011 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Wereldlijke vocale muziek - Verschenen op 25 november 2016 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Liederen - Verschenen op 17 februari 2011 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Hi-Res Audio
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Klassiek - Verschenen op 29 april 2013 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Hi-Res Audio
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Concerten voor viool - 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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Cantates (wereldlijk) - Verschenen op 1 september 2014 | naïve classique

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 12 juni 2012 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica - Hi-Res Audio
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Klassiek - Verschenen op 1 januari 2005 | Alpha

Hi-Res Onderscheidingen 4 étoiles du Monde de la Musique - 4F de Télérama - 5 croches d'Opéra International - Hi-Res Audio
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Klassiek - Verschenen op 16 mei 2015 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Klassiek - Verschenen op 9 september 2014 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica
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Piano solo - Verschenen op 6 oktober 2017 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
Sophisticated colourist and cerebral virtuoso though he is, Nelson Goerner nevertheless brings out the moments of weakness, the hesitations, the lightning passions in the labyrinth of Chopin’, wrote Diapason on the release of the Preludes in 2015 (Diapason d’Or, Choc de Classica). ‘Serenity’, ‘balance’, ‘clarity’, ‘phrasing’ are the key words that recur in reviews of the discs and concerts of the Argentine pianist, whose fifth solo release on Alpha this is. His latest venture is a complete recording of the Nocturnes, a highpoint of Chopinesque poetry. These twenty-one miniatures accompanied Chopin over a good part of his life, for he composed them between 1827 and 1848. They are tributes to Italian bel canto, expressing reveries but also complexity of feeling and a profundity that far transcends their apparent simplicity. Nelson Goerner’s feeling for melody and tempo works wonders in these pieces, which he recorded in the ideal surroundings of the Salle de Musique of La Chaux de Fonds (Switzerland). © Alpha
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Kwartetten - Verschenen op 20 oktober 2014 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Qobuzism
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Duo´s - Verschenen op 26 januari 2018 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
The Hantaï brothers – Marc on traverso and Pierre on the harpsichord – give us here everything Bach “really” composed for flute and harpsichord, as some possible falsely attributed works are not featured here. Compared to the violin – which counts six sonatas and partitas for solo violin and six sonatas for violin and obbligato harpsichord – the transverse flute may look like the forgotten sibling in the Kantor’s works. But at the time the transverse flute was still a very recent instrument, that had just come (back) from France (where it was called the “German flute”) and Bach only started using it in his cantatas around 1721-1722, and therefore only had a very limited dedicated repertoire. These four sonatas are anything but a collection. Two are missing to reach the sacred number of six. Furthermore, they were composed over a period of twenty years. And while one may be tempted to confer them the balance and symmetry desired by the arranger – two sonatas with obbligato harpsichord (BWV1034 and 1035), two with basso continuo (1030 and 1032), two in minor, two in major, two in three movements, two in four, two in E, and two fifths ascending or descending from this central E, etc. –, all of it might be merely fortuitous; they are rather a “blended” family. However these works for flute have in common the fact of being clouded by great uncertainty – whether it is about their chronology, the date of composition, the intended recipient, their form, their main instrumentation, their creation… So all is left for the listener is to experience them, performed here on a flute made by Joannes Hyacinth Rottenburgh (first half of the 18th century) from Brussels, and a harpsichord after Mietke (Berlin) made in 1702. © SM/Qobuz
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Kamermuziek - Verschenen op 22 september 2014 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Exceptional Sound Recording
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Missen, passies, requiems - Verschenen op 23 maart 2015 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
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Klassiek - Verschenen op 16 december 2013 | Alia Vox

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica - Hi-Res Audio
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Klassiek - Verschenen op 9 maart 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice
The Tenebræ responsories come from an immense collection of polyphonic music for Holy Week, the Officium Hebdomadæ Sanctæ, published by Victoria in 1585, which brings together several pieces written during the twenty years he spent in Rome. The responsories, brought together here, form part of a much longer Tenebræ, which essentially combined the monastic Hours of matins and lauds, for each of the final three days of the Holy Week. One of the characteristic traits of this service consists in the progressive extinguishing of fifteen votive candles until the church is finally plunged into the darkness from which the ceremony draws its name. The responsory is one part of a much broader liturgy, which was for the most part sung in plainsong. The musical richness of Victoria's polyphonic compositions made a striking contrast to this liturgy. Such an effect is harder to effect in concert, or even on a recording, where we are outside the liturgical context: here, we have uninterrupted polyphony. While the music is very varied, the uninterrupted use of the same mode and the same textures in three or four pieces throughout these 18 Responsories could, at times, give the impression that one is listening to a single piece. To counteract that impression, here and there the Stile Antico vocal ensemble has introduced extracts from readings of the Lamentations, sung in plainsong at the end of each Responsory. And so the contrast is restored. The programme closes with the luminous and oh-so-soothing six-voice motet for Holy Week O Domine Jesu Christi, again published in Rome in 1576. © SM/Qobuz
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Religieuze vocale muziek - Verschenen op 21 oktober 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama