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Trio´s - Verschenen op 16 november 2018 | NoMadMusic

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Symfonische muziek - Verschenen op 25 mei 2018 | NoMadMusic

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
It's true, we admit: no-one is really waiting for a new recording of Stravinsky's Firebird – even of the 1945 Suite, which is more rarely performed than the rather hackneyed one of 1919. But what's original about this album from the Orchestre National d’Ile-de-France is rather the rare work by Milhaud: La Bien-Aimée, a ballet from 1928 which had the considerable misfortune of being first performed at the same concert as Ravel's Boléro – which, of course, eclipsed everyone and everything else. But this Bien-Aimée is not without its charms; it is in fact a series of orchestrations of Liszt and Schubert, with one piece for pianola! Yes, the pianola, the mechanical piano which doesn't play quite as "automatically" as all that, given that the human musician decides the tempo, the dynamics and the balances themselves. The difficulty of course lies in perfectly synchronising the pianola and the orchestra: but here, it is pulled off perfectly. Milhaud's orchestrations of this music by Liszt and Schubert are a lot of fun, and Milhaud enjoys a few flashes of genius, and on occasion an unlikely orchestral hodgepodge with neither head nor tail but which, oddly, hits the mark, if in a somewhat slapstick manner. One to discover! © SM/Qobuz
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Kamermuziek - Verschenen op 26 januari 2018 | Aeon

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
Lucid music. Vivacity, wit, intensity, foldings and unfoldings of the pointillist material, embracing the thing itself and its contradiction – sensuality, drollery, dances, abysses like sudden draughts of air. Movement and standstill . . . Music that slaps, pinches, bites, muffles, growls. Here Pesson reinvigorates what might (already) be his own classicism (Carmagnole); draws a pencil moustache on Mozart, who is more than willing to wear it (Transformations du Menuet K. 355); hounds his language so far into the corner that it seems different, and probably becomes so, in the intransigent light of Opałka (Blanc mérité); a language that ramifies and scintillates in Proust (Ne pas oublier coq rouge dans jour craquelé); grows geometric in Pérec (Neige bagatelle); and denudes itself in ‘enfantines’ (Musica ficta). The Ensemble Cairn, a faithful partner of the label, under its director Guillaume Bourgogne, leads us into territories that could hardly be droller. © Aeon/Outhere
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Vocale muziek (wereldlijk en religieus) - Verschenen op 12 januari 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
Alpha continues its collaboration with the Festival d’Aix-en-Provence and its Academy, which will celebrate its twentieth anniversary in 2018. We invite you to discover artists of great talent who take us on a trip to Auvergne, Sicily, Armenia and Azerbaijan thanks to Luciano Berio’s Folk Songs, to Andalusia with Falla’s Psyché on a poem of Georges-Jean Aubry, and to the world of Jules Renard with Ravel’s Histoires naturelles. The last-named are recorded in a version for chamber ensemble: ‘Since Ravel gave Manuel Rosenthal to make an arrangement for large orchestra which we found rather overblown, we set out to find a “chasseur d’images” (to quote the title of one of Renard’s Histoires naturelles poems) who could transcribe the work without losing its intimate, delicate aspect. . . . We hope you will be as charmed as we are by Arthur Lavandier’s work, which beautifully conveys the immensely refined timbres and nuances of Ravel’, says the oboist Clément Noël, a member of the Swiss Ensemble Labyrinth. Anna Stéphany is a true revelation, performing this programme with the technique, the sensuality and the emotional impact that earned her a huge triumph in Mozart at last summer’s Glyndebourne Festival. © Alpha Classics
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Kamermuziek - Verschenen op 5 januari 2018 | Chandos

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
The Philadelphia-based baroque orchestra Tempesta di Mare here reveals an unparalleled musical legacy, presenting long forgotten works by the German baroque composer Johann Gottlieb Janitsch, confined for centuries to unexamined archives. The works formed part of an enormous music collection which belonged to Sara Levy, the great-aunt of Felix Mendelssohn. She was a distinguished harpsichordist, collector, and influential figure in the musical life of late-eighteenth- and early-nineteenthcentury Berlin. Removed from the Berlin Sing-Akademie towards the end of World War II, her musical library was for many decades considered lost or destroyed. It was unearthed in Kiev only in 1999 and returned to Germany in 2001, where it is now again accessible to the public. While there can be no doubt that the instrumental oeuvre of Janitsch matched the diversity of that of some of his more prominent Berlin colleagues, the emphasis of his compositional output lay on chamber music, especially Quadros, four of which are featured here. The typical, prevailing dialogic structure of the Ouverture grosso highlights the influence which thematic play had on the rest of his work. © Chandos
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Operafragmenten - Verschenen op 6 oktober 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Kamermuziek - Verschenen op 29 september 2017 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
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Wereldlijke vocale muziek - Verschenen op 22 september 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica
The theatres of London were vital centres for Restoration music after the return of the Stuart monarchy, following the fall of Cromwell's puritan dictatorship. Reinvigorated by the arrival of women actors and sumptuous decoration, they attracted a broad audience, which had been starved of entertainment after the years of religious rigour and the virtual ban on public performances. The most sought-after composer of the period was Locke, whose experience in this field went back into the Cromwell years. While Puritans did close theatres, some pieces had been able to overcome the ban, like the masque Cupid and Death set to music by Gibbons, which was played for the Portuguese ambassador in 1657 - then again in 1659, with additional music by Locke. When the theatres re-opened in 1660, there was a demand for music for every play, but more as an ornament than as an integral part of the plot. Each one required a series of airs and instrumental pieces to be played at the start and between each act. Locke wrote more than twenty airs of this type, although they can't be pinpointed to any specific plays. Most of his stage music, like Curtain Tune and Lilk, survive in various manuscripts from the period, and comprises stage music for plays performed in the final decade of the 17th Century. These are the inter-act pieces, airs or "curtain-raisers" which Bertrand Cuiller's Caravansérail ensemble plays here - Cuiller, remember, learned the harpsichord with Pierre Hantaï and Christophe Rousset. His last solo album, Rameau's complete works for harpsichord, was declared Classica's Shock of the Year 2015. The airs here are sung by Scottish soprano Rachel Redmond, a great performer of baroque music.
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Kamermuziek - Verschenen op 22 september 2017 | Alpha

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
The first album of the quartet founded by Nicolas Van Kuijk, a programme of Mozart, was awarded a ‘Choc de Classica’ and ‘Diapason Découverte’. Now they return to their roots with key works from the French repertory: the single quartets of Maurice Ravel and Claude Debussy and the Chanson perpétuelle of Ernest Chausson, in which they are accompanied by the mezzosoprano Kate Lindsey, who recently joined Alpha, and the pianist Alphonse Cemin, also well-known on the label.© Alpha Classics
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Piano solo - Verschenen op 22 september 2017 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Vocale muziek (wereldlijk en religieus) - Verschenen op 22 september 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
The six young singers of the Academy of Le Jardin des Voix, selected from several hundred candidates, offer us a musical journey through some of the finest pieces in the Italian repertory, from a Banchieri madrigal to Haydn’s Orlando paladino. Thanks to an outstanding training programme and the musical values transmitted by William Christie and Paul Agnew, here is a chance to discover both some splendid vocal gems and a group of new performers who honour them with talent, grace and humour. Sheer delight! © harmonia mundi
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Missen, passies, requiems - Verschenen op 15 september 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
“With me, musical invention is the fruit of persevering and laborious work. I find it difficult to compose, and constantly return to what I have already committed to paper. I feel drawn primarily to the organ and the orchestra. These two worlds of sound, organ and orchestra, are so inexhaustible that – in my opinion at least – they offer all kinds of possibilities for renewal.” With these words, Maurice Duruflé (1902–1986) describes his work as a composer – work that was characterized by constant doubts and scruples. His statement also makes it clear why his entire oeuvre of sacred organ and vocal music amounts to only 14 works with opus numbers, all of them strongly influenced by Gregorian chant, Late Romanticism and French Impressionism. In his Requiem, Duruflé chose to adopt the spiritual, contemplative aesthetic familiar from Gabriel Fauré’s contribution to the genre. Fauré, too, had avoided placing the drama of the Last Judgment at the heart of the work and instead chosen the spiritual confrontation with death, paired with sentiments such as gentleness and hope. Duruflé thus turned his back on the romantic Requiems by composers such as Hector Berlioz or Giuseppe Verdi who, with their penchant for the grandiose and operatic, had painted a kind of “apocalyptic fresco“. Like Fauré before him, he also dispensed with any dramatic rendition of the “Dies irae“, instead placing the idea of the resurrection at the centre of his interpretation.As with Duruflé, it is quite clear that Gregorian chant exerted a very powerful influence on the Respighi’s art; elements of it can be found in almost all the works he composed after 1920. The fact that these purist melodies, combined with the system of old church modes, fascinated him so much can to some extent be explained by the fact that they represented the greatest possible contrast to the overheated, chromatically refined harmonies of the Verists and post-Wagnerians. Escaping into atonality was never an option for Respighi; it was in the archaic, austere character of Gregorian chant that he recognized innovative potential. Respighi very happily integrated his newfound knowledge into a violin concerto, the Concerto Gregoriano, written 1921. To Respighi’s regret, the response to the world premiere was only lukewarm; indeed, he waited in vain throughout his life for a performance that would do the piece justice. Rest assured, this new interpretation by Henry Raudales is a welcome addition to the rather modest discography of the work.
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Duo´s - Verschenen op 15 september 2017 | PentaTone

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
Conceived for the intimate environment of the Parisian salon, these composers honed their skills to produce songs which are sophisticated, superbly crafted and laced with drama, irony and surprise. Always a delight, these songs palpably caress the listener with their beautifully contrived melodies and exquisitely refined harmonies, particularly evident in the plaintive, haunting songs of Ernest Chausson and Jules Massenet. Gallic wit and verbal dexterity is provided in the famous Danse Macabre of Camille Saint-Saëns, Emmanuel Chabrier’s Villanelle des petits canards, and the charming Sérénade and Ô ma belle rebelle by Charles Gounod. It’s a fascinating survey brought vividly to life in these compelling performances in pristine multi-channel sound. © Pentatone
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Klassiek - Verschenen op 8 september 2017 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Award - 4 étoiles Classica
Delphine Galou is renowned and admired for her musicality and her appealing timbre. She has taken part in many productions of Baroque music and recordings of operas (notably by Vivaldi), but this is her first recital. It is a programme of sacred music, motets, cantatas and excerpts from oratorios, which in the course of the seventeenth and eighteenth centuries were influenced by the increasingly fashionable genre of opera. From the famous ‘Agitata infido flatu’ from Vivaldi’s oratorio Juditha triumphans, here counterpointed by an aria from another setting of the story of Judith composed by Jommelli, to Stradella’s Lamentations and Porpora’s magnificent motet ‘In procella sine stella’, Delphine Galou covers a wide range of spiritual emotions. She is accompanied by the excellent Accademia Bizantina under its director and harpsichordist Ottavio Dantone. A concerto by Gregori and a sinfonia by Caldara complete this release, which includes several world premiere recordings. © Alpha Classics
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Piano solo - Verschenen op 8 september 2017 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
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Klassiek - Verschenen op 1 september 2017 | BIS

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Klassiek - Verschenen op 1 september 2017 | Chandos

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
To celebrate Vladimir Ashkenazy’s 80th birthday, together with the Oxford Philharmonic Orchestra and the young violinist Irmina Trynkos, this album is a world premiere recording featuring three works by Nimrod Borenstein, a composer whom Ashkenazy has admired and supported for many years. The three pieces differ in size and character, but the composer’s humble hope is that “whilst you listen to them your first thought will be ‘Borenstein’, just as when you hear an unfamiliar piece by a composer you already know you think ‘Beethoven’, ‘Chopin’, or ‘Prokofiev’ – because you recognise something unique to its creator”, quite an ambition to be sure. The short orchestral piece If You Will It, It Is No Dream (2013) is considered as an intense journey into the struggle and wonders of the will, and also an homage to Borenstein’s native country, Israel. The piece contains several examples of his fascination with the feeling of suspension, moments when time seems to pause. The Big Bang and Creation of the Universe (2008-2009) Borenstein’s biggest symphonic work to date, is a piece in which the importance of contrasts – an idée fixe in his style and language – is particularly clear. His search for new ways to create and explore contrasts, the composer explains, has led him to develop a personal system of “multimelodic” counterpoint, using complex juxtapositions of rhythms to create a multiplicity of different atmospheres. When he started to write his Violin Concerto (2012), Borenstein was determined to create a large-scale piece for the violin repertoire, to continue in the line of imposing, “big” concertos by Brahms, Sibelius, or Shostakovich – a challenge particularly dear to him as a violinist. The composer conceives virtuosity as not only the capacity to play fast and precisely but, even more essentially, as the mastery of colours and nuances, and the individuality of the voice. Now, dear reader, it’s up to your ears to fathom the deep musical reasons why Ashkenazy has been championing Borenstein’s music for years and years.
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Klassiek - Verschenen op 1 september 2017 | BIS

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
Ives “assembled” his fourth and final sonata for violin and piano around 1916 based on diverse movements written between 1901 and 1910; that was his “modus operandi”, that would later be confirmed by the Concord Sonata, which follows the same rule in the creative process of this genius who knew how to masterfully construct a coherent work using the elements that were disparate in theory, conceived throughout a gestation period that could be as long as several decades. As with the preceding sonatas, Ives places each of his movements under the guise of a religious hymn, initially presented in a fragmented way, unstitched and ambiguous, before finally unveiling the theme in its entirety. Shortly after its official creation in 1940, the Quatrième Sonate would attract the attention of Szigeti who, not long after, performed it at the Carnegie Hall, leading to a recording for the radio and even a publication. This sonata is now one of Ives’s most played works. As for the Concord Sonata: in the “authors preface” of his Essai avant une Sonate, Ives described his objective: an attempt at presenting his impressions of the transcendental spirit, which, for more than half a century now, many people have associated with Concord, Massachusetts. To this end, each of the four movements make references to the great literary figures that lived in this small town between 1840 and 1860: Thoreau, Emerson, Hawthorne, as well as a local family – the Alcotts. Amongst these musical references, we find Beethoven, some religious hymns, patriotic hymns, circus marches, as well as brief appearances from two “guest stars”: the viola and the flute (the flute being Thoreau’s instrument). Of course, the Concord Sonata will never dethrone the Hammerklavier or the Sonate by Liszt (in the essential repertoire of any self-respecting pianist) but the Concord always attracts the greatest soloists who make themselves champions of the work. Among these soloists we find the Finnish pianist Joonas Ahonen, who achieved great success not long ago with his recording of Concerto by Ligeti, as well as his interpretations of Beethoven on pianos of that era. Since 2011, Ahonen has also been a member of the prestigious ensemble Klangforum Wien. As for the violinist Pekka Kuusisto, he has already performed as a soloist for orchestras in Seattle, Cincinnati, for the BBC, on the Finnish Radio and the Philharmonic orchestras of Los Angeles and Oslo - to cite but a few. © SM/Qobuz
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Klassiek - Verschenen op 31 augustus 2017 | Solstice

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Kamermuziek - Verschenen op 25 augustus 2017 | Brilliant Classics

Booklet Onderscheidingen 4 étoiles Classica