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Musique vocale (profane et sacrée) - Verschenen op 1 september 1979 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or
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Piano solo - Verschenen op 1 november 2019 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or
Charles-Valentin Alkan made his name as pianist in nineteenth-century Paris and seemed poised for a glittering career. But following a series of setbacks he withdrew into a life of relative seclusion, and as he receded from the public eye, so too did his music. It was never entirely forgotten, but it was not until the 1960s and 1970s that Alkan’s works began to emerge from obscurity. To quote the liner notes by Paul Wee, ‘Alkan’s music exhibits a formidable grasp of form and structure, a strong command of melody, a high sense of drama and an unprecedented exploitation of the capabilities of the piano.’ Combined here are the Symphony and the Concerto for Solo Piano, two pinnacles of Alkan’s legacy. Unusually, the four movements of the Symphony and the three movements of the Concerto are included as seven études within Alkan’s Douze Études dans tous les tons mineurs (Twelve studies in all the minor keys), in 1857 as his Op. 39. As to why Alkan composed these epic works and then hid them away in a set of études, Wee suggests that they are to be seen as ‘a celebration of the piano and its capabilities.’ Paul Wee is a barrister specialising in commercial law and appears regularly before courts and tribunals on behalf of clients including governments, corporations, financial institutions and individuals. Born in Australia, he began his piano studies at the age of four, continuing them in New York City at the Manhattan School of Music. Going on to study law at the University of Oxford, he attempts to balance his love for the piano alongside the demands of a busy international career in law. © BIS Records
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Musique de chambre - Verschenen op 25 oktober 2019 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Musique de chambre - Verschenen op 18 oktober 2019 | Accent

Booklet Onderscheidingen Diapason d'or
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Classique - Verschenen op 10 november 2006 | Syntonia

Booklet Onderscheidingen Diapason d'or
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Quatuors - Verschenen op 11 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica - Qobuzism
Six quartets that are key to understanding what Joseph Haydn brought to the history of western music. This effort by the Quatuor Hanson is particularly successful because they know how to construct and express the quintessence of this subtle art. And what's more, they bring it off with a fascinating level of instrumental skill. Listening to this piece, we have to bow down once again before the genius of a composer who, along with Boccherini, invented a new genre and immediately studded it with masterpieces of staggering quality. Its title, All shall not die, is the international translation of the Latin epigraph engraved onto Haydn’s tombstone (non omnis moriar). The choice of this phrase indicates the permanence and universality of Haydn's body of work. Judiciously picked out from among Haydn's vast corpus, these six quartets are touching both in their expressiveness and in the perfection of their writing. Not a single note out of place, a perfect balance of four voices and an inspiration at every moment. The closing Opus 77, left unfinished, was a contemporary of Beethoven's first Quartets, Opus 18 – works that betray the lessons their writer learned from his master.More than two hundred years after his death, Haydn has only just found recognition as one of the greats, a status denied him in life. More than a forerunner, Haydn is a founder, a genius whose influence was felt by those who came after him, foremost amongst whom Beethoven and Schubert. This splendid album puts him (back) in his rightful place. © François Hudry/Qobuz
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Musique vocale sacrée - Verschenen op 27 september 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Symphonies - Verschenen op 26 september 2019 | Les Indispensables de Diapason

Onderscheidingen Diapason d'or
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Musique de chambre - Verschenen op 13 september 2019 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
Since setting off in the early 2000s, Pierre Hantaï is still journeying into Domenico Scarlatti’s world. After a hiatus of more than ten years following the third volume, the harpsichordist finally recorded a fourth volume in 2016 and this autumn sees the sixth one come into bloom, once again superbly recorded in Haarlem in the Netherlands by Nicolas Bartholomée. Pierre Hantaï is taking his time to gradually construct a perfect anthology of Scarlatti’s keyboard work. Here, he explores some of his little-known sonatas. His keyboard intensifies the profound rhythmic force of Scarlatti’s world: the sharp lines burst forth, the harmonic tension constantly explodes, the new tones are revealed smoothly, and his playing – with an exhilarating left hand – is stunning throughout. The first five sonatas of this new release (all of which have a fairly fast tempo) form a representative ensemble of a rather uncompromising Scarlatti, followed by a moment of gravity and meditation with the exquisite Sonata in F minor, K. 69, while the surrounding Sonatas K. 502 and K. 43 (with a wonderfully volatile left hand) have clearly marked rhythms. The style and atmosphere changes with Sonata in C major, K. 384, whose tender “French” tone is emphasised by Pierre Hantaï, and at the same time there’s an almost modern feel which goes beyond even Soler’s most audacious scores. Fascinating! While the tender sonatas (K. 550, K. 544) distil an aftertaste that is slightly more spicy than the previous volumes, what continues to surprise us with Hantaï in this repertoire is his prolonged search for a “Hispanic” feel - a Spain in a majestic trance, with colliding rhythms and contrasting accents and registers.Let’s hope that Pierre Hantaï does not wait another ten years to deliver the seventh volume; there is no doubt that these Scarlatti recordings will remain one of the most exciting and necessary musical adventures of the 21st century. A perfectly captured sound, style and universe. © Pierre-Yves Lascar/Qobuz
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Concertos pour violon - Verschenen op 13 september 2019 | Orfeo

Hi-Res Onderscheidingen Diapason d'or
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Musique symphonique - Verschenen op 30 augustus 2019 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or
Best known as a composer of film music, Korngold was born in Brünn, Austria-Hungary (present-day Brno, Czech Republic) and – as both a pianist and composer – was a child prodigy. Mahler and Strauss were impressed by the young musician, and recommended he study with Zemlinsky rather than ‘waste his time’ attending music conservatory. Korngold emigrated with his family to the USA in 1934, where he went on to revolutionise the Hollywood soundtrack, composing scores for films such as The Sea Hawk, Captain Blood, and The Adventures of Robin Hood. Composed between 1947 and 1952, and dedicated to the memory of Franklin Delano Roosevelt, his (only) Symphony is a heartfelt response to the conflict of WWII. The premiere, in 1954 in Vienna, was under-rehearsed and not a success, and the work remained neglected until Rudolf Kempe came across a set of score and parts in Munich and resurrected it. The Theme and Variations and Straussiana were both commissioned by the Association of American School Orchestras, but Korngold makes no concessions to youth in his writing. Straussiana also reflects his lifelong love of the music of Johann Strauss II. This is the first recording with John Wilson and his new orchestra, the Sinfonia of London. The hand-picked players represent the cream of London’s orchestral musicians, and create an outstanding quality of sound that is evident throughout this exceptional recording. © Chandos
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Symphonies - Verschenen op 2 augustus 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen Diapason d'or
These concert recordings give the lie in stunning style to the reputation for slowness which has dogged the great Otto Klemperer. The image of a partially-paralysed old man directing Beethoven's symphonies at a deathly slow pace is dispelled by these two concert versions of Symphony No.101 "The Clock" by Haydn and Symphony No.4 by Brahms recorded in Munich in 1956 and 1957, with the excellent Bavarian Radio Symphony Orchestra, one of Germany's best.Here is a perfectly-balanced Haydn, both biting and joyful. The opening Presto launches with sparkling élan, and sets the tone for the whole album. It reminds us how, in his youth, Otto Klemperer had always been a conductor ready to take to the barricades for contemporary music, and to play the great works of the repertoire with a style whose grandeur was only rivalled by its vivacity.His vision of the Fourth Symphony by Brahms alternates between a sense of immensity (Allegro giocoso) and a versatility in terms of tempo that most conductors today wouldn't dare tackle. He cleverly structures the Finale, to underscore the thread linking Brahms and the contrapuntists of musical history, the crowning summit of which writing being a Bach cantata and the use of a passacaglia that holds together the whole magisterial performance. Starting at a relatively moderate tempo, the movement reaches its climax, as Brahms instructs on the score (Più Allegro), in a fateful and liberating whirlwind. © François Hudry/Qobuz
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Mélodies (France) - Verschenen op 24 mei 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
Sandrine Piau invites us for a stroll through the heart of romantic French melody with the musicians of the Concert de la Loge playing on period instruments. Known at the beginning of her career as a prominent performer of Baroque song, Sandrine Piau admits that she was nourished by 19th and 20th-century French music from an early age, at a time when she dreamed of becoming a harpist. Palazzetto Bru Zane are therefore going back to their roots, co-producing this album with the Alpha Classics label. Most of the tracks on this album are real discoveries, like these exquisite mini-works by Massenet, Pierné, Dubois, Godard or Guilmant. And what a wonderful idea to have also slipped the real gem that is Aux étoiles between these melodies, the short night-time instrumental that Henri Duparc wrote in 1910. Almost blind, the composer had dictated the orchestration to the very young Ernest Ansermet, who created it shortly afterwards, conducting the Montreux Kursaal Orchestra. A departure from the usual piano accompaniment, these melodies take on an additional grace and elegance in their orchestral setting, under the subtle and diaphanous direction of Julien Chauvin. © François Hudry/Qobuz
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Musique vocale sacrée - Verschenen op 24 mei 2019 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
Founded in 2018 by the singer Emiliano Gonzalez Toro, a specialist in baroque music and Monteverdi in particular, the ensemble I Gemelli has set itself the task of protecting the great works of the Italian "Seicento" (meaning 17th century), not hesitating to unveil many scores that are as yet still unpublished, waiting deep in the libraries for the musicians who will bring them to life.This is the case for composer Chiara Margarita Cozzolani, to whom the conductor and her ensemble dedicate their first album, with several superb psalms and motets collected here to form an office of “Vêpres à la Vierge” (Vespers to the Virgin). It’s the extraordinary richness of the Italian convents’ archives that has enabled the unearthing of this sensual and delicate music published some thirty years ago after Montevardi’s Vêpres, which seems to have served as a model.A nun, then abbess of the convent of Saint Ragedonde in Milan, Chiara Margarita Cozzolani was born into an upper-class Milanese family. Emiliano Gonzalez Toro’s choice was the collection of the 1650 Salmi a otto voci ("Psalms for 8 voices") and the Concerti sacri, published in 1642. They are connected to each other by an older work, composed by Caterina Assandra, with the text of "Duo Seraphim" already set to music by Monteverdi in his own Vêpres from 1610.Looking to the future, with the use of dissonances reinforcing expression, these psalms and motets alternate between parts for choir and those for soloists, with a voice treatment designed to highlight the talent of the singers of Sainte-Radegonde. A double debut album: the first for the ensemble and the first dedicated to this composer whose talent demands our full attention, just like her contemporaries Cavalli, Strozzi or Benedetto Ferrari. © François Hudry/Qobuz
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Classique - Verschenen op 17 mei 2019 | Ramée

Hi-Res Booklet Onderscheidingen Diapason d'or
No eighteenth-century composer was so adept at so many musical styles as Georg Philipp Telemann. Telemann's versatility and inventiveness kept his musical style avant-garde during his entire life. He was not only praised by his contemporaries but was highly respected by the next generation: his fame was immense. Thererfore New Collegium, one of the promising ensembles of the younger generation, has chosen for their first studio recording on the Ramée label to show Telemann the chameleon, the breadth of his musical palette. Some of the pieces will undoubtedly sound familiar; others, such as the Italianate Trio for violin and cello obbligato, or the pastoral Trio for two violins in scordatura, will surely be delightful, new surprises for many. Coming in and out of disguise with Telemann’s chameleonic notes we often find ourselves wondering: is this truly music by just one composer, not six? © Ramée
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Musique de chambre - Verschenen op 17 mei 2019 | Accent

Booklet Onderscheidingen Diapason d'or
The 17th-century Bohemian/Austrian composer Heinrich Ignaz Franz Biber is best known for his works for solo violin, especially the Mystery Sonatas. However, he also wrote a considerable amount of music for string ensemble, including a set of 12 chamber sonatas subtitled Fidicinium Sacro-Profanum which was first published in Nuremberg in 1683. The title refers to the fact that the music in the sonatas combine sacred and secular styles. In his collection Biber set new standards in the field of string chamber music. In the first part he composes for a five-part string ensemble: 2 violins, 2 violas, violone and basso continuo, a combination that was established at his time as the standard ensemble in Austrian cultural circles. In a richly coloured setting, Biber artfully weaves a polyphonic texture that allows the voices to alternate and come to the fore. In the second part of this collection he dispenses with the five-part arrangement hitherto predominant in Austria, and focuses on augmenting the flexibility of the four individual parts. The present recording of Biber’s twelve chamber sonatas Fidicinium Sacro-Profanum is performed by Harmonie Universelle under its director Florian Deuter. © Accent
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Concertos pour violoncelle - Verschenen op 17 mei 2019 | SOMM Recordings

Hi-Res Booklet Onderscheidingen Diapason d'or
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Musique de chambre - Verschenen op 3 mei 2019 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or
Popular madrigals and chansons of the 16th century served as models for richly embellished “alla bastarda” versions on the viola da gamba. In this recording, the vocal originals are presented together with the extremely virtuoso instrumental versions which represent the first and hardly surpassed apex of solo literature for viola da gamba. For 25 years, Paolo Pandolfo has been one of the leading viola da gambists of his generation, researching and promoting the repertoire of his instruments in all directions. The thorough knowledge of all aspects of the viola da gamba repertoire becomes clear in his extensive discography. Not only has he recorded the most important works of the viol literature, but also very personal musical statements in which he combined the youthful experiences as a double bass player and guitarist with compositions and improvisations that are just as influenced by jazz as they are by the historical repertoire. With the “bastarda” diminutions, he now proffers an early milestone of the solo viol literature in which the exuberant virtuosity serves to present enchantingly beautiful music. On this very special project, with instruments built ad hoc, he is joined by some of the finest continuo players of the early music scene (Boysen, Granata, Chemin, Pedrini) and the exquisite vocal ensemble La Pedrina, together producing what definitely will be considered as a key recording of repertoire for the viola da gamba. © Glossa
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Musique vocale (profane et sacrée) - Verschenen op 3 mei 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique
Fans of the British crown’s splendour will certainly marvel at this double album that reproduces the coronation anthems of the four monarchs of the 20th century: Edward VII in 1902, George V in 1911, George VI in 1937, and current Queen Elizabeth II in 1953. Very few of today’s ceremonies can reach such levels of grandeur.At the crossroads of tradition and innovation, these coronation ceremonies are characterised by the evocation of past heritage works, and the addition of numerous pieces commissioned specifically for the occasion to the best composers in the kingdom. For such events, Westminster Abbey is closed for several months to allow an army of craftsmen to build monumental galleries capable of hosting up to eight thousand guests. Then come the rehearsals with 400-singer choirs, half of them children, an immense orchestra, and the indispensable great organ.This recording is a selection of the best moments of these ceremonies, presented as a single liturgical structure. This ample reconstitution led by Paul McCreesh follows for the most part the 1937 ceremony, dropping however the era’s typical style when interpreting Handel. The musical approach has changed so much that it is presented here in the “baroque” style characteristic of our early 21st century. Some difficult choices were made, particularly regarding the Te Deum, the centrepiece and climax of the ceremony. A Cornelian choice between the ones from Stanford (1902), Parry (1911), Vaughan Williams (1937) and William Walton (1953). The latter was finally chosen, for its radiance and theatrical impetus. © François Hudry/Qobuz
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Quatuors - Verschenen op 26 april 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
Formed in 1994 at the Royal College of Music in London, the Belcea Quartet already has an impressive discography, including the complete Beethoven string quartets. For this new recording, the ensemble has chosen three quartets by two iconic composers of the 20th century: Leos Janáček and György Ligeti. Fifteen years after their first recording for Zig-Zag, and after some changes in personnel, they have decided to record again the two string quartets by Janáček. The First Quartet was inspired by Leon Tolstoy’s famous novella, The Kreutzer Sonata: the four-movement work follows the narrative, including its culminating murder. The Second Quartet is subtitled Intimate Letters, in homage to Kamila Stösslova, with whom the composer had an important relationship expressed through letters, one that influenced both his life and his music. Finally, the First Quartet by Ligeti, subtitled Métamorphoses nocturnes because of its particular form. The composer described the work as a sort of theme and variations, but not with a specific theme that is then subsequently varied: rather, it is a single musical thought appearing under constantly new guises – for this reason the word ‘metamophoses’ is more appropriate than ‘variations’. © Alpha Classics