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Klassiek - Verschenen op 24 februari 2017 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 2 oktober 2020 | Arcana

Hi-Res Booklet
Little by little, Francesco Corti begins to stand out with his colourful personality. In some respects, he reminds us of Ottavio Dantone and his vivid, overflowing imagination. Here, the masterful blend of rigour and fantasy is striking. And what a copious program – over 80 minutes long! The Praeludium BWV 815a is the ideal entry point before a French Suite in E Flat major (No. 4) by J. S. Bach (here the 1722 version, which never appears constrained by its structure). Have we ever heard such natural polyphony, beautifully deployed harmonies and rhythmic diversity? In fact we have, with pianist Tatiana Nikolayeva in a 1987 concert in Salzburg (Orfeo). Then come the (re)discoveries. If Leonhardt had once shown (Teldec) the beauty of Kuhnau's biblical sonatas, Francesco Corti gives Il lamento di Hiskia an unexpected depth. It takes on a truly transitional form between the French Tombeaux and the denser recitatives of Bach's Passions, whereas L'allegrezza del Re directly evokes France. After a short and unremarkable Hasse passage, Francesco Corti throws himself into Praeludium, Fugue & Postludium in G minor by Georg Böhm, which is perhaps even more poetic than its twin, Praeludium, Fugue et Allegro in E flat major by J. S. Bach (BWV 998) which the harpsichordist performs in an unrushed and improvisational manner, a performance style which can also be found in Capriccio Sopra’s overture lontananza del fratello dilettissimo BWV 992. Ken Yoshida captures a wonderful recording of the sublime Andrea Restelli harpsichord which is modelled on a 1738 Christian Valer preserved at Nuremberg, played by one of the most intense artists on the young Baroque scene. Discover this recital in all its glory, it is certainly worth the listen. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 20 maart 2020 | PentaTone

Hi-Res Booklet
Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development. Francesco Corti and il pomo d’oro present Concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums. Corti has chosen to combine these four concertos for the full orchestral sound they call for, while later recordings in this series will have a chamber setting in comparison. For tempo choices and melodic variations, Corti has been inspired by treatises from Bach’s time, as well as the composer’s own written-out ornamentations. © Pentatone
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Klassiek - Verschenen op 12 februari 2021 | PentaTone

Hi-Res Booklet
Few recent versions of Johann Sebastian Bach's difficult concertos for harpsichord(s) bear witness to such a bubbling polyphonic life. The reduced size of il pomo d'oro, to one per part, probably had something to do with it, but the sense of listening of each musician, the harmonic tension like the breathing in the phrasing infused by Francesco Corti, the simple beauty of the sound texture, rich in a thousand cleverly organised details, will remain the great heralds of this second volume.Listen, for example, to the Largo of the BWV 1056, with its "pizzicatos"  strings, which here sound as much like heartbeats as stab wounds. And on this carpet of sound, the Italian harpsichordist rolls out a line with infinite horizons, with soberly tender curves. The Larghetto of the BWV 1054, rarely so poetic and expressive, bears definitive witness - often forgotten - to the fact that Johann Sebastian Bach was a lover of acoustics, and its corollary resonance. The members of il pomo d'oro (especially in the medium and low registers, namely Stefano Rossi, Ludovico Minasi and Paolo Zuccheri) also highlight with acuity the rubbing that Bach used to spread his discourse. Striking, indeed. And the two concertos for three soloists (BWV 1057 and BWV 1044) exude similar beauties.In the libretto, the Italian harpsichordist testifies that the musicians, during the recording session that preceded, only by a few hours, the strict lockdown of Italy in early March 2020, were no doubt already going through a period of doubt as to their professional and personal futures. Nevertheless, they were fully committed to the company, all of them then focused on celebrating the radiant power of the Leipzig Cantor's music. This will not escape anyone's attention.A record that will quickly become one of your favourites! Let's hope that Corti continues with the multi-harpsichord concertos. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 2 augustus 2010 | Berlin Classics