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Kamermuziek - Verschenen op 25 oktober 2019 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Klassiek - Verschenen op 22 februari 2019 | Ramée

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life. © Ramée/Outhere
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Piano solo - Verschenen op 22 juni 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Missen, passies, requiems - Verschenen op 25 mei 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
In the 17th century, Roman churches were competing to put on the greatest show to celebrate their patron saints. On these occasions, extraordinary services were performed, where many different artists would be brought together, singers and instrumentalists alike, alongside ordinary musicians, for sumptuous pieces performed by several vocal and instrumental choirs. One contemporary description gives an idea of the scale: ten choirs and ensembles played together, two on fixed stages, and eight others distributed symmetrically right along the nave, on platforms built for the occasion. Every additional stage was provided with a positive organ, while many other instruments added to the sonic splendour. So that all the musicians could play well together in spite of the distance, "capi di coro” or time-keeping drummers, would play in unison. Orazio Benevolo (1605-1672) was one of the most remarkable architects of these extravagant, multi-choral monuments. Benevolo was a choirboy at the Church of St. Louis of the French in Rome before he entered the upper echelons by taking the job of Chapel Master in 1638. The composer has left behind him an abundant set of works, containing no fewer than 34 motets for a range of players, including Regna terrae, written for twelve soprano parts distributed across six vocal choirs, each with its own basso continuo. We are also indebted to him for twelve versions of the Magnificat, for between eight and 24 voices, including one for 16 voices, in quadruple choir, which appears here. Hervé Niquet and his Concert Spirituel have made use of the ample acoustics in the Notre-Dame-du-Liban church in Paris, perfectly structured to hold several choirs distributed across the building, to create the sensations of immersion and spatial plenitude that the composer aimed for. © SM/Qobuz
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Kamermuziek - Verschenen op 9 februari 2018 | Musique en Wallonie

Hi-Res Booklet Onderscheidingen Diapason d'or
Laurent de Saint-Luc was born in 1669 into a family of musicians. The reputation of his father, Jacques de Saint-Luc, had gone beyond the borders of the Spanish Netherlands: he was known all the way to Paris – where, in 1647, he performed as a theorbist at the Chapelle Royale. While Saint-Luc's father was attached to the Chapelle Royale in Brussels from 1639 to 1683, Laurent never appeared among the court musicians. Perhaps we can deduce from this that from 1691, the son was no longer in the southern Low Countries. In addition to no position at the court being forthcoming, the political situation could have led him to leave Brussels, as the League of Augsburg had turned the region into a battlefield - in 1695, a bombardment destroyed two thirds of Brussels. Although France was an enemy, Saint-Luc made for Paris and stayed there a while, and several pieces seem to confirm his presence there in this period: L’Arioste moderne refers to a work by Mme Gillot de Beaucour dating from 1685; La Belle au bois dormant to Perrault's 1696 fairytale. It was in Amsterdam that his Suites pour le luth avec un dessus et une basse ad libitum, appeared, the Livre premier in 1709, and the Livre second in 1710, but we have nothing which allows us to confidently pinpoint the composer's whereabouts at those dates. The latest historical event to which his compositions refer (they are often very descriptive: The Defeat of the French by the Germans Before Turin, The Taking of Barcelona, etc.) is the taking of Lille, in October 1708. And after that... a mystery. Thereafter, the composer generally sticks to traditional forms, but which he can still renew, not just prefacing his allemandes with unexpected preludes, but even giving them overtures or a march, while substituting for sarabande and gigue with pieces like Pour endormir l’enfant or Pastorelle. A shiny and new ancient composer, then, and the silvery lutist Evangelina Mascardi gives an intense and tender reading. © SM/Qobuz
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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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Wereldlijke vocale muziek - Verschenen op 7 april 2017 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Diapason d'or / Arte - Choc de Classica - Choc Classica de l'année
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Concerten voor viool - 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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Klassiek - Verschenen op 11 maart 2016 | Ramée

Hi-Res Booklet Onderscheidingen Diapason d'or
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Wereldlijke vocale muziek - Verschenen op 26 februari 2016 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 3 november 2015 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
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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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Klassiek - Verschenen op 6 oktober 2015 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles Classica
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Wereldlijke vocale muziek - Verschenen op 16 september 2015 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - Choc Classica de l'année
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Religieuze vocale muziek - Verschenen op 19 mei 2015 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Balletten - Verschenen op 5 mei 2015 | Timpani

Hi-Res Booklet Onderscheidingen Diapason d'or
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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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Concerten voor viool - Verschenen op 24 februari 2015 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 18 januari 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 13 januari 2015 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles Classica