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Klassiek - Verschenen op 30 maart 2018 | Sony Classical

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Klassiek - Verschenen op 6 april 2018 | Sony Classical

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Klassiek - Verschenen op 17 april 2012 | Alpha

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Klassiek - Verschenen op 20 oktober 2017 | harmonia mundi

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Klassiek - Verschenen op 20 oktober 2014 | L'Encelade

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Klassiek - Verschenen op 13 oktober 2013 | Indésens

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Klassiek - Verschenen op 8 maart 2011 | Analekta

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Klassiek - Verschenen op 24 augustus 2018 | Arcana

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Sadly, the majority of Bach's works for transverse flute and clavier (be that obbligato or continuo) have survived only in truncated form, in manuscripts stuffed full of mistakes – surely the result of a hasty copy job from an older work, now lost – to say nothing of doubtful attributions, meaning that flautists have little choice but to take what they're given and do the best with it they can. And that is exactly what Laura Pontecorvo is doing, ably accompanied by Rinaldo Alessandrini on the harpsichord: the truncated works have been finished, the errors corrected, the transpositions restored to their original form, with the result that we find ourselves confronted by works which are almost "new", but still very much by Bach! What links all these works is that the harpsichord part is more than a simple basso continuo – which would require that the harpsichord player improvise an accompaniment, or at least write one for themselves – but a concerting part, written by Bach himself. Incidentally, this gives us an excellent idea of how one should write one's own basso continuo: imitations galore, a great harmonic transparency, unflagging elegance. The missing parts of the Sonata BWV 1032 – the original manuscript is sadly incomplete – have been deftly filled in by Alessandrini, who manages to perfectly respect the Cantor's discourse. © SM/Qobuz
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Klassiek - Verschenen op 25 september 2012 | Phi

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica - Exceptional sound - Hi-Res Audio
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Klassiek - 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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Klassiek - Verschenen op 8 april 2016 | Ramée

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Klassiek - Verschenen op 11 februari 2014 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Concertmuziek - Verschenen op 23 maart 2015 | Fuga Libera

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Klassiek - Verschenen op 5 april 2019 | Alia Vox

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Johann Sebastian Bach’s Saint Mark Passion is part of the catalogue compiled by his son Carl Philip Emanuel. The piece was performed on March 23, 1731 in Saint-Thomas of Leipzig, two years after Saint Matthew. Though the performance is well-documented, the music has completely disappeared, with only a libretto by Picander from 1744 remaining. It is therefore the interpreter’s task to recreate the piece, using older compositions. This is what Jordi Savall managed to do in the “pasticcio” manner used by Bach himself when he composed such masterpieces as Christmas Oratorio de Noël and Mass in B Minor.The process is tricky because even though it relies on a precise musicological study, the result remains just a hypothesis. This recording is not the first attempt, and others have tried before with varying efficiency and authenticity. What we know for sure is that Bach wanted his Saint Mark to sound different, with less choir and more choral, which was familiar to the audience.In his work, Jordi Savall used the 1744 libretto. He found inspiration in Funeral Ode, Saint John’s Passion, and Matthew, as well as in a few cantatas. Jordi Savall offers a new light and an original “recomposition” of the piece. © François Hudry/Qobuz
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Klassiek - Verschijnt op 23 augustus 2019 | Alpha

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Klassiek - Verschenen op 22 april 2013 | Ramée

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Hi-Res Audio
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Klassiek - Verschenen op 10 maart 2017 | Arcana

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Klassiek - Verschenen op 17 februari 2017 | harmonia mundi

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Klassiek - Verschenen op 8 april 2014 | Alpha

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Religieuze cantates - Verschenen op 17 april 2012 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen 3F de Télérama - Exceptional sound - Hi-Res Audio - Sélectionné par Ecoutez Voir

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