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Klassiek - Verschijnt op 25 oktober 2019 | Alia Vox

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Klassiek - Verschenen op 20 juni 2019 | Alia Vox

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Klassiek - Verschenen op 31 mei 2019 | Alia Vox

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By the middle of 1788, at the age of 32, Mozart had reached the height of his creative maturity, dominated by the last three symphonies, absolute masterpieces that he composed in a very short period of time – barely one and a half months. This extraordinary “symphonic massif” consisting of three peaks – Symphony No. 39 in E-flat major, completed on 26th June, Symphony No 40 in G minor, completed on 25th July and Symphony No. 41 in C major, the “Jupiter”, dated 10th August – is unquestionably the composer’s “Symphonic Testament”.
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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 8 maart 2019 | Alia Vox

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Kamermuziek - Verschenen op 7 december 2018 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
These were the days when France was considered a European beacon of art and culture. This symbol of refinement and sophistication is brilliantly embodied here by Le Concert des Nations conducted by Jordi Savall in a dream French-German arrangement that combines the music of Jean-Ferry Rebel and Georg Philipp Telemann, who express themselves in a supranational musical style to reach a sort of baroque dance climax.Savall gives leans heavily on the carefree splendour of Louis XV’s reign with these successive rococo ballets for which one can easily imagine the astounding dancing steps depicted by paintings from the likes of Watteau, Lancret and Hallé.Jordi Savall’s interpretation is simultaneously rich, skilful and extremely refined. The whole vocabulary for dance and decorum is used in these scores which rely on the very rhythms of that era: minuet, jig, rigadoon, passepied and gavotte, as well as, at times, a form of nostalgia inherited from the previous century in memory of the end of the Great King’s reign.This is a deep dive into the lavish world of the wealthy living in a perfect bubble that the French Revolution would brutally pop at the end of this Age of Enlightenment; an era of political and social reflection that saw the emergence of the idea of tolerance before ending in a bloodbath, a bloodbath from which the modern world was about to be born. © François Hudry/Qobuz
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Klassiek - Verschenen op 7 december 2018 | Alia Vox

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Klassiek - Verschenen op 5 oktober 2018 | Alia Vox

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Kamermuziek - Verschenen op 24 augustus 2018 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
The twenty pieces which make up the musical collection the Codex Trujillo of Peru (compiled around 1780 by Baltasar Jaime Martínez Compañón, the cantor of Lima and later bishop of Trujillo), represent an exceptional case in the history of the indigenous music of the New World. This ensemble of Tonadas, Cachuas, Tonadillas, Bayles, Cachuytas and Lanchas, lets us to get to know the country's traditional music, or as one of the Cachua texts puts it, "al uso de nuestra tierra" ("according to the ways of our land") More specifically we get to know the songs and dances of the people of the "Viceroyalty of Peru" in the late 18th century.These songs were written to be sung whilst dancing, hence the title of the album Bailar Cantando. The majority of the words are in Castilian (the Peruvian dialect) but there are also some songs in Quechua. All these elements explain the very specific character of these songs, which are very different from Spanish songs but also different to the music of other parts of the New World from the same era. The subtitle, "Fiesta Mestiza en el Perú", "Mestizo fiesta in Peru" shows the interaction between "natives" and Hispanics. It was symbolic feast celebrated with the marvellous Codex, in which all the different tribes and castes that lived together in this rich and stratified society would participate. When the Spanish arrived in Peru, following in the wake of Francisco Pizarro in 1532, the indigenous population already had more than two millennia of rich culture. As a result, the musical practices in the second half of the 17th century were fusion of local traditions and foreign influence: Iberian but also African. Jordi Savall leads the Tembembe Ensamble Continuo with many different native instruments, alongside the Ensemble Hespèrion XXI and vocalists from the Capella Reial de Catalunya. © SM/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 14 april 2017 | Alia Vox

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Klassiek - Verschenen op 17 februari 2017 | Alia Vox

Hi-Res Booklet Onderscheidingen 4 étoiles de 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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