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Classique - Verschenen op 24 september 2012 | EPR-Classic

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Exceptional Sound Recording
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Cantates sacrées - Verschenen op 17 april 2012 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen 3F de Télérama - Exceptional Sound Recording - Hi-Res Audio - Sélectionné par Ecoutez Voir
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Classique - Verschenen op 25 september 2012 | Phi

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio
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Classique - Verschenen op 7 februari 2012 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - Hi-Res Audio
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Classique - Verschenen op 6 oktober 2014 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - Exceptional Sound Recording
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Classique - 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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Violon solo - Verschenen op 5 oktober 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
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Classique - Verschenen op 1 december 2014 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Duos - 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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Musique vocale sacrée - Verschenen op 19 mei 2015 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Classique - Verschenen op 18 maart 2016 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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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 13 oktober 2011 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
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Cantates sacrées - Verschenen op 18 november 2013 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Classique - Verschenen op 8 april 2014 | Alpha

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Classique - Verschenen op 26 november 2012 | Aparté

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Classique - Verschenen op 15 april 2016 | Aparté

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Classique - Verschenen op 26 januari 2018 | Arcana

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
After his first solo album of music by Marchand and Clérambault, released in 2015 and nominated for a Preis der Deutschen Schallplattenkritik, the harpsichordist Luca Oberti, who has performed on the international scene for years alongside such figures as Marc Minkowski and Christophe Rousset, presents a new album on the theme of Bach’s imaginary journey to Italy. Schütz, Froberger, Muffat, Handel, Hasse, Mozart and Wagner are merely the most famous of the many musicians who crossed the Alps to immerse themselves in the world of Italian music and grasp its atmospheres and its secrets. Yet the composer who most fully assimilated the Italian style was Johann Sebastian Bach, who never even set foot in Italy. His journey was a virtual one: the scores of the Italian masters, which he avidly studied and absorbed from childhood onwards, guided him on an ideal itinerary from Vivaldi’s Venice to Frescobaldi’s Rome. Beginning with the transcriptions of concertos by Vivaldi and Marcello, and continuing with pieces of Italian inspiration like the Aria Variata alla maniera italiana, the Capriccio sulla lontananza del fratello dilettissimo and the Fantasia and Fugue BWV 904, the journey culminates in the celebrated Italian Concerto. © Arcana/Outhere
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Classique - Verschenen op 2 oktober 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Classique - Verschenen op 2 oktober 2012 | Yarlung Records

Hi-Res Booklet Onderscheidingen Hi-Res Audio