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Klassiek - Verschenen op 1 juni 2018 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 19 oktober 2018 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
From the beginning of the dreadful Thirty Years War, which devastated Europe from 1618 onwards, to the end of the no less dreadful “war to end all wars” (which tragically did not) in 1918, the Lautten Compagney musical ensemble here explores all the various music that surrounds war: music that condemns it, sings about it, tries to escape from it or tries to lift people’s spirits. It’s a bold move to mix Heinrich Schütz, Samuel Scheidt, Johann Hildebrand and Heinrich Isaac (all of whom, in one way or another, suffered in the Thirty Years War) with Friedrich Holländer (who signed the music of L'Ange bleu, among others) and Hanns Eisler (with his sometimes dodecaphonic accentuation) - especially if, in the case of 20th century composers, the accompaniment is entrusted to baroque instruments! The ensemble even extends the range a little further to include Satie with an effective instrumentation of Gnossienne played on these very old instruments, which underlines both the timelessness of this music and its resolutely archaic aspect. And it works, very well in fact; the exquisite quality of the musicians and singers helps no doubt, but the concept itself is very wholesome, even if it is a little iconoclastic. The dark aspects found in the vast majority of these works span over centuries, from one massacre to another, and Callot's Misères de la guerre could just as easily have been written in 1915 instead of 1633, by swapping the halberds for bayonet rifles. © SM/Qobuz
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Klassiek - Verschenen op 6 november 2020 | deutsche harmonia mundi

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Klassiek - Verschenen op 6 november 2020 | deutsche harmonia mundi

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Kamermuziek - Verschenen op 11 mei 2018 | K&K Verlagsanstalt

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Klassiek - Verschenen op 7 oktober 2016 | deutsche harmonia mundi

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Klassiek - Verschenen op 4 november 2013 | deutsche harmonia mundi

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Klassiek - Verschenen op 23 maart 2018 | Sony Music Classical Local

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What a singular blend, you will say, and you will probably be right. Heinrich Biber’s serious, baroque and spiritual music—and yet, its deepest work: the Rosary Sonatas!—interspersed by pieces that are rather grounded (even rooted in Buenos Aires) from Piazzola, it took some nerve. The Lautten Compagney did it… and not just a little, since Piazzola is played here on the Baroque harpsichord, lute, violin and violoncello, in reinterpretations that don’t lack any bite or persuasion. Biber, like Piazzola, knew that their interpreters wouldn’t lack imagination, making way for a good dose of possible (but never obligatory) improvisation in the area of ornamentation, tempos, sonorities, etc. But let yourself be thrown off and let your hand be taken between the Rosary and Rosario, between the “normally”-tuned instruments and those whose sound is hurt by Biber’s “scordatura”, which consists in getting the string instruments out of tune in order to get open notes—and thus harmonic colors—that are quite unusual, or even shocking, but so beautiful! © SM/Qobuz
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Klassiek - Verschenen op 15 februari 2010 | deutsche harmonia mundi

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Klassiek - Verschenen op 18 oktober 2019 | deutsche harmonia mundi

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Caution: addictive sounds!The musicians of the ensemble Lautten Compagney, founded in Berlin 35 years ago, have made a leap across the centuries to take part in this meeting of American minimalists (and their close family): Philip Glass, Steve Reich, Meredith Monk and Wim Mertens with Guillaume Dufay's Ars Nova. Entitled Circle Lines, their new album for deutsche harmonia mundi brings together ancient and contemporary pieces, which, in alternating from one to another, show off their similarities. Through this work, Lautten Compagney are presenting a circular, cyclical vision of history. Listening to the record, we are charmed by the programme's evenness. What's more, we are troubled by the way the musicians have literally fused Dufay together with his younger peers: the rhythmic continuum of the strings on Dance V from In the Upper Room by Philip Glass underlines the melodic lines of Par droit je puis bien and lend it an irresistible force; in the same, jocular way, a rhythmic ostinato is produced by beating the strings with the wood of the bow and a zinc spring on Clapping Music by Steve Reich, adding a theatrical touch to the melody of Dufay's Se la face ay pale.Their musical intelligence, their close partnership and their immense talent, the musicians of Lautten Compagney give voice to the great innovation of Renaissance counterpoint, a fine way of showcasing American music. Even if these repertoires aren't to your taste, you'll treasure this record! © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 4 november 2016 | Sony Classical

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Klassiek - Verschenen op 26 januari 2018 | Sony Music Classical Local

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Music-lovers, don't be fooled - the title of this album La Dolce Vita, is not any kind of allusion to Fellini. Monteverdi is and remains a Mantuan, and above all a Venetian, without any particular link to the Rome portrayed by the film-maker. At the most, in this recording by the Lautten Compagney and the soprano Dorothee Mields (who sings on almost all the tracks), we can see a sort of series of scenes - as in the famous film - but in this case they are "musical scenes" taken from a range of Monteverdi's great successes: books of madrigals, some religious works, and above all the two masterpieces from Monteverdi's most mature period, which are the Madrigali guerrieri e amorosi and Selva morale e spirituale. The Lautten Compagney, in spite of its name, is not just an ensemble for lutists, but a baroque and renaissance orchestra which uses the instrumentation of the period: violin, viola, viol de gamba, double-bass/violone, percussion, harpsichord, organ, theorbo, recorders, post horn, baroque guitar and also - all the same - the lute, which is played by the lead musician, Wolfgang Katschner. To be sure,  all these works have already been recorded a hundred times over, but in the case of this music, the great freedom which the scores permit - often very imprecise in terms of instrumentation - allows each new performance to be a kind of re-composition. So let's salute the arrival of a new Monteverdi! © SM/Qobuz
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Klassiek - Verschenen op 17 september 2012 | deutsche harmonia mundi

Booklet
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Klassiek - Verschenen op 19 oktober 2018 | deutsche harmonia mundi

Hi-Res Booklet
From the beginning of the dreadful Thirty Years War, which devastated Europe from 1618 onwards, to the end of the no less dreadful “war to end all wars” (which tragically did not) in 1918, the Lautten Compagney musical ensemble here explores all the various music that surrounds war: music that condemns it, sings about it, tries to escape from it or tries to lift people’s spirits. It’s a bold move to mix Heinrich Schütz, Samuel Scheidt, Johann Hildebrand and Heinrich Isaac (all of whom, in one way or another, suffered in the Thirty Years War) with Friedrich Holländer (who signed the music of L'Ange bleu, among others) and Hanns Eisler (with his sometimes dodecaphonic accentuation) - especially if, in the case of 20th century composers, the accompaniment is entrusted to baroque instruments! The ensemble even extends the range a little further to include Satie with an effective instrumentation of Gnossienne played on these very old instruments, which underlines both the timelessness of this music and its resolutely archaic aspect. And it works, very well in fact; the exquisite quality of the musicians and singers helps no doubt, but the concept itself is very wholesome, even if it is a little iconoclastic. The dark aspects found in the vast majority of these works span over centuries, from one massacre to another, and Callot's Misères de la guerre could just as easily have been written in 1915 instead of 1633, by swapping the halberds for bayonet rifles. © SM/Qobuz
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Klassiek - Verschenen op 18 oktober 2019 | deutsche harmonia mundi

Hi-Res Booklet
Caution: addictive sounds!The musicians of the ensemble Lautten Compagney, founded in Berlin 35 years ago, have made a leap across the centuries to take part in this meeting of American minimalists (and their close family): Philip Glass, Steve Reich, Meredith Monk and Wim Mertens with Guillaume Dufay's Ars Nova. Entitled Circle Lines, their new album for deutsche harmonia mundi brings together ancient and contemporary pieces, which, in alternating from one to another, show off their similarities. Through this work, Lautten Compagney are presenting a circular, cyclical vision of history. Listening to the record, we are charmed by the programme's evenness. What's more, we are troubled by the way the musicians have literally fused Dufay together with his younger peers: the rhythmic continuum of the strings on Dance V from In the Upper Room by Philip Glass underlines the melodic lines of Par droit je puis bien and lend it an irresistible force; in the same, jocular way, a rhythmic ostinato is produced by beating the strings with the wood of the bow and a zinc spring on Clapping Music by Steve Reich, adding a theatrical touch to the melody of Dufay's Se la face ay pale.Their musical intelligence, their close partnership and their immense talent, the musicians of Lautten Compagney give voice to the great innovation of Renaissance counterpoint, a fine way of showcasing American music. Even if these repertoires aren't to your taste, you'll treasure this record! © Elsa Siffert/Qobuz
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Opera - Verschenen op 1 januari 2004 | CPO

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Klassiek - Verschenen op 30 oktober 2015 | deutsche harmonia mundi

Hi-Res Booklet
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Klassiek - Verschenen op 30 oktober 2015 | deutsche harmonia mundi

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Klassiek - Verschenen op 15 oktober 2012 | deutsche harmonia mundi

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Klassiek - Verschenen op 4 november 2013 | deutsche harmonia mundi