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Duo´s - Verschenen op 19 april 2019 | Channel Classics Records

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Duo´s - Verschenen op 5 april 2019 | Pan Classics

Booklet Onderscheidingen 5 de Diapason
Enrico Onofri discovered Bartók’s pedagogical piece 44 Duets for two cellos while he was studying in Italy under Hungarian master violinist Sándor Végh. Onofri took his time to prepare his project and looked for the ideal partner. When he met Lina Tur Bonet, then, he knew he had found her. Both violinists come from a baroque background and they both love Bartók.   Bartók composed the piece in 1931 following the suggestion of a German professor who needed a cycle for two violins without accompaniment. The initial agreement called for the rearrangement of his “For Children” played on the piano. But Bartók’s inspiration led him to a more ambitious project. With his friend Zoltán Kodály at his side, he traveled to remote regions of Eastern Europe, where he collected music and popular songs.  Bartók created a network of modes that gives students the opportunity to have fun learning while focusing on progressive and irregular rhythmic parts, double strings, syncopation and percussive effects. The piece is a catalogue of changing atmospheres that seduces musicians far beyond their initial pedagogical aspect. Enrico Onofri and Lina Tur Bonet thought of the duos as a unique 45-minute cycle and exploration of Bartók’s world. They use highly reverberant acoustics and show their “historically informed” abilities to play precise articulations as well as each note’s dynamics. On this recording, they used strings from the early 1900’s mixing bare gut (A and B), metal-wound gut (G), and steel (E), a mixture which creates a pure and precise sound. © François Hudry/Qobuz
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Duo´s - Verschenen op 29 maart 2019 | Erato

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On this record, Renaud Capuçon and David Fray decided to turn their back on the musicology-inspired understanding of baroque music. Enough of “the dictatorship of the historically informed.” They chose instead to play this music from the heart, just as the masters did in the previous century. Their choice is sincere in a field of numerous conflicts between schools of thoughts. Six sonatas for Violin and Harpsichord was composed by Bach when he was at the court of Coethen. It was especially admired by Carl Philipp Emanuel, the Cantor’s second son. As often happens, however, the autographed manuscript has disappeared and it is through series of copies that we know it today.  It was published for the first time in 1804, fifty years after Bach’s death. The six sonatas are written according to Corelli’s rules. They imagine a new type of dialogue in the chamber orchestra where keys are not in the background. The writing is precise, expressive, and rhythmical. © François Hudry/Qobuz
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Duo´s - Verschenen op 1 maart 2019 | Audax Records

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"The clean, lyrical virtuosity from Johannes Pramsohler is of the kind that begs you to simply sit back and soak it all up." – Gramophone "Pramsohler’s assured technique and musicianship are impressive". - The Strad For over ten years, Ensemble Diderot has been known for captivating interpretations of largely unknown repertoire. For five years, the creative group around Johannes Pramsohler has had its own label, Audax Records, and consequently an artistic platform for the development of projects that are not subservient to commercial criteria. The two violinists of Ensemble Diderot present here a striking programme of works for two violins without bass, some of which are premiere recordings. Get a fascinating insight into the champions league of violinists in mid 18th century France and discover works of rare beauty outside of the two famous Leclair collections: Italian virtuosity combined with French elegance! © Audax Records
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Duo´s - Verschenen op 25 januari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 16 november 2018 | Klarthe

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Duo´s - Verschenen op 9 november 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
At a time when Mozart was writing his first sonatas for violin and clavier, in 1778, it was the done thing to write piano sonatas with violin accompaniment in which the violin part is fairly unobtrusive. The purpose of this was not to put off the target audience for the scores: educated amateurs. But Mozart paid no heed to this convention and took off into a new world with real duets, in which the two instruments found themselves on an even footing. At the same time, he avoided the corrective exaggeration which would appear in some scores which resembled violin concertos with a little piano support. Here we have a perfect balance between the two players: Isabelle Faust on the violin and Alexander Melnikov at the clavier. The latter of the two plays on a copy of a Viennese fortepiano made in 1795 by Anton Walter. The sound balance is utterly perfect, which is a relief, as all too often these sonatas either favour the keyboard part when played on the piano or the violinist tries to force it. We have here two sonatas written in Paris shortly after the death of Mozart's mother (who accompanied him on the journey), and then another from 1787 written in the wake of Leopold Mozart's death. Despite this the composer seems to be putting on a brave face, flashing a smile tinged with a tender nostalgia on the Sonata in E Minor K. 304. © SM/Qobuz
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Duo´s - Verschenen op 26 oktober 2018 | Colin Currie Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Duo´s - Verschenen op 3 oktober 2018 | Printemps des Arts de Monte-Carlo

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 28 september 2018 | Indésens

Hi-Res Booklet Onderscheidingen Choc de Classica
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Duo´s - Verschenen op 14 september 2018 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The violin sonatas of Johannes Brahms were the product of much self-critical reflection, and the three surviving works are from a composer mature in years. Composed around the same time as the Violin Concerto (No. 1), the Piano Trio in C Minor and the Cello Sonata No. 2 (Nos. 2 and 3), they also echo some of his songs, such as those written to poems by Klaus Groth. Into this Romantic atmosphere come new performances of the three works on Glossa, played by violinist Leila Schayegh (particularly awarded for her recordings of Bach, Caldara and Benda), teaming up here with pianist Jan Schultsz. Schayegh plays a copy of a period violin, whilst Schultsz uses an original 1879 Streicher instrument. The two players aim to recapture the performing tradition as the composer would have known it, and within which he would have intended his pieces to have been played. Schayegh and Schultsz worked with Clive Brown and Neal Peres Da Costa in their efforts to aim for “the spirit rather than the dead letter of the score” and they pay admirable notice of important interpretative questions for music of this time – and they provide an intuitive musical and emotional response to the lyricism of the first two sonatas and the darker-hued tones of the third, investing these late-nineteenth-century works. © Glossa
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Duo´s - Verschenen op 10 augustus 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Two young Belgian soloists—including Lorenzo Gatto, despite the Italian consonance of the name—have been gathering for several years around Beethoven, and here is their interpretation of three Beethoven sonatas: the First written even before the end of the 18th Century—1798—, followed by the very last that is the Tenth Op. 96 from 1812—created by the infamous Pierre Rode on violin, and the archduke Rudolph of Austria who, incidentally, must have been an amazing pianist—, to finish with one of the most famous ones, the Fifth called “The Spring Sonata” (a name not chosen by the composer). Despite dating “only” from 1801, this sonata is incredibly different from the First regarding its architectural maturity, its intense lyricism and its audacities of all kinds. Gatto, who won the Queen Elisabeth Competition, plays on nothing less than the Stradivarius “Joachim”, while Libeer, a chamber music enthusiast, has a field day on a big concert piano with parallel strings and of an almost orchestral sound. Their first volume, released in 2016, was more than noticed by the critics and the audience—and was a great success on Qobuz. © SM/Qobuz
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Duo´s - Verschenen op 6 juli 2018 | CPO

Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 15 juni 2018 | Rubicon Classics

Hi-Res Booklet
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Duo´s - Verschenen op 1 juni 2018 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or
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Duo´s - Verschenen op 11 mei 2018 | Paraty

Hi-Res Booklet
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Duo´s - Verschenen op 11 mei 2018 | Klarthe

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Duo´s - Verschenen op 20 april 2018 | Profil

Booklet Onderscheidingen 5 de Diapason
Although Nikolai Medtner's work for solo piano is reasonably well-known among fairly well-read music lovers, his music for violin and piano remains quite absent from concert halls and record collections. That's a real shame, because among them there are so many gems waiting to be discovered and enjoyed. Medtner, remember, might have been born in Russia in 1879, but he spent half his life in exile after the Revolution, first in America and then in England, where he would die in 1951; disinclined (to put it lightly) to follow the avant garde (including the avant-garde of Stravinsky or Debussy!), throughout his life he would be wedded to tonality, to melodic art, and the same tradition that Rachmaninov followed. His three great sonatas for violin and piano date respectively from 1904 for the First (revised before its first performance in 1911 but in its fundamentals it remains post-romantic); the Second only in 1925, while the composer was staying in France; the Third in 1939, written in his modest London dwelling – because Medtner spent the end of his career in almost-total obscurity, with the exception of the Maharajah of Mysore, an unstinting but sadly impotent champion of his music. The listener will note that as he advances in maturity, the composer increases the scope of his discourse, rather than reducing it: the First Sonata is only half as long as the Third, but we're not complaining. Alongside these three sonatas, Nikita Boriso-Glebsky on the violin and Ekaterina Derzhavina on the piano give us some other pieces by Medtner for the same group of instruments: the Canzonas and the Nachtgesänge ("night songs"), which underline just how much the melody was central to his conception of music. © SM/Qobuz
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Duo´s - Verschenen op 13 april 2018 | Fuga Libera

Hi-Res Booklet Onderscheidingen 5 de Diapason
"French" works (although Ysaÿe was Belgian…) from 1877 with Fauré's First Sonata through to 1908's Extase by Ysaÿe: that's what is on offer here from French violinist Saténik Khourdoïan, a regular at the Amsterdam Concertgebouw, the Radio-France Philharmonic the Orchestre de Marseille, Roque-d’Anthéron, the Grange du Meslay, the Festival d’Aix-en-Provence, France-Musique and France-Culture – and we should also mention that she is the first solo violin of the Monnaie de Bruxelles. Her selection shines a light on a whole range of French art which stands resolutely off to one side of the idiosyncratic route sketched out by Debussy: Saint-Saëns, Fauré and Ysaÿe will always remain in the ambit of rigorously-written French romanticism. The Caprice en forme de valse by Saint-Saëns, in its wild transcription by Ysaÿe, gives us a sense of the real value of Saténik Khourdoïan's undertaking. This is an excellent calling card for a violinist who has still got plenty to say. © SM/Qobuz
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Duo´s - Verschenen op 30 maart 2018 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice

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Opera in het magazine