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Klassiek - Verschenen op 17 juli 2020 | Alia Vox

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Jordi Savall’s Beethoven is bursting with life. The accents, rhythms and articulations are sprightly of course. But also in spirited, intelligent phrases, the accomplished orchestral balance cheerfully testifies to this (Adagio from the 4th). The tempos too are relatively measured but alluring. The secret of these Beethoven compositions is their dancing spirit, inherited from the dances of the 18th century, which brings a constant energy. Another way in which these works stand out is the revolution of timbres which inspired the Master of Bonn’s formal constructions, in the new registers (the development of brass instruments and notably horns, but also increased presence of timpani, etc.) and in the development of dense textures. All this is paired with a poetic, theatrical sound: these symphonies are hidden dramas. This is how Ernest Ansermet also saw it in the past and his complete Decca recordings bear the trace of this, despite a naturally different general aesthetic (Decca, 1958-1963, well worth rediscovering). Here, the 4th is bursting with audacity - it is perhaps the greatest of the first works of the genre in the Beethoven catalogue. Jordi Savall achieves a very beautiful ensemble, which very clearly sticks out above the rest in this year of Beethoven (2020), a year overflowing with rather unconvincing artistic proposals. © Pierre-Yves Lascar/Qobuz
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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 - Verschenen op 11 mei 2018 | Alia Vox

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Klassiek - Verschenen op 30 maart 2018 | Alia Vox

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Klassiek - Verschenen op 26 januari 2018 | Alia Vox

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
From 700 to1797, the Serenissima independence had a long life from its blurry beginnings up until the Treaty of Campoformio in 1797 which bound together the Republic of Venice to Italy. This millenium is musically illustrated by Jordi Savall on his latest work. He has surrounded himself by his own troops: the Hespèrion XXI, the Capella Reial de Catalunya, the Concert des Nations, as well as numerous "guest stars" from all over the Mediterranean. The history of Venice is known to alternate between times of economic, political and military prosperity, as it found itself under threat by hostile armies from the Ottoman Empire, France, Spain and the House of Austria. We hear an Orthodox vocal ensemble from Thessaloniki, the Jewish cantor Lior Elmaleh, Orient Musicians for all the Arabic, Moorish and Ottoman influences, and Haïg Sarikouyoundjian for Armenia in this extraordinary compilation. The works range from Byzantine songs to a fairly quirky adaptation of Beethoven signed by Luigi Bordese - a four-part male choir and organ with a text by Adolphe Joly. Not forgetting Mozart’s Turkish March which is deliciously rewritten by Savall, or even the classical Ottoman musicians Monteverdi and Vivaldi, as well as Rosenmüller (who worked for a long time in Venice, after having to flee Leipzig from a grim story involving young boys… less of a scandal in Venice it seemed…), Janequin illustrating Marignan, Dufay and his Fall of Constantinople, the Crusades and the songs that followed, in short, everything that you could imagine. A sumptuous document explaining the ins and outs of the whole matter. © SM/Qobuz
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Missen, passies, requiems - Verschenen op 1 december 2017 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
This album, In excelcis Deo, with two religious works written at the time of the Spanish war of succession, presents the Missa Scala Arentina to four choirs by the Catalan composer Francesc Valls (1671-1747) and the Mass for Two Choirs and Two Orchestras by the French composer Henry Desmarest (1661-1741), each held up as a mirror to the other. These exceptional masterpieces are tightly connected in time, one dating from 1701 and the other from 1704. The Spanish war of succession raged from 1701 to 1714 and was the last of the major wars fought by Louis XIV of France: this terrible European conflict revolved around the succession to the Spanish throne following the death of the last Spanish Hapsburg, Charles II (he was epileptic, he contracted syphilis from his mother at birth- yes, that's a thing - and he was also infertile) and, through it all, political and commercial dominance in Europe. Finally, Spain lost more or less all of its European possessions - in Italy, the Netherlands, Sardinia, and even in Spain itself, with Gibraltar falling into British hands. The Bourbons would be installed on the Spanish throne (where they still sit today), while Barcelona was "recaptured", Catalonia having taken the side of Austria and the Austrian Hapsburgs... A can of worms was opened which is still squirming today! This album, musically very ecumenical thanks to the talent of Jordi Savall, juxtaposes the works of musicians who came from countries on opposite sides of the war, whose masses were held one in Barcelona, and the other in Versailles. It is up to the listener to form their own opinion as to whether the music of the very Catholic French and the very Catholic Catalans is so different after all! © SM/Qobuz
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Klassiek - Verschenen op 13 oktober 2017 | Alia Vox

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Klassiek - Verschenen op 5 mei 2017 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 17 februari 2017 | Alia Vox

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - Songlines Five-star review
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Klassiek - Verschenen op 2 december 2016 | Alia Vox

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Klassiek - Verschenen op 28 oktober 2016 | Alia Vox

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Klassiek - Verschenen op 20 mei 2016 | Alia Vox

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Klassiek - Verschenen op 6 mei 2016 | Alia Vox

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Klassiek - Verschenen op 11 maart 2016 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 26 februari 2016 | Alia Vox

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Klassiek - Verschenen op 4 september 2015 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 8 juni 2015 | Alia Vox

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Klassiek - Verschenen op 1 december 2014 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 24 februari 2014 | Alia Vox

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 16 december 2013 | Alia Vox

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica - Hi-Res Audio