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Klassiek - Verschenen op 19 februari 2021 | Channel Classics Records

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Klassiek - Verschenen op 5 februari 2021 | Channel Classics Records

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The Channel Classics label is patiently continuing its exploration of the work of Johann Sebastian Bach. One of the first stages of this project was the Pieter Wispelwey's famous version of the Cello Suites in the early 1990s. In the course of collaborations with his artists, the label's producer, Jared Sacks, has offered all the Cantor's major chamber music cycles, such as the Sonatas and Partitas for solo violin with Rachel Podger, or the Sonatas for harpsichord and violin, with Podger again, and Trevor Pinnock at the keyboard. In the meantime, Rachel Podger has also proposed her own vision of Suites for Cello Solo, on violin. For now, it is the turn of another important Bach corpus, the Sonatas for harpsichord and viola da gamba. The original offering by violist Marie Stockmarr Becker and harpsichordist Ilaria Macedonio presents an inspired and radiant vision. It is original, because the viola da gamba here becomes a viola ("viola da braccio"), another tessitura close to the human voice. It is a particularly convincing vision, in which the two musicians stand out for their mutual understanding, their ample gestures and their fluid breathing, recalling at times the very old version by Wieland Kuijken and Gustav Leonhardt, with splendid phrasing (deutsche harmonia mundi). It's magnificent in any case: this new Channel release is highly recommended. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 22 januari 2021 | Channel Classics Records

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Klassiek - Verschenen op 9 oktober 2020 | Channel Classics Records

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This recording offers a fine sampling of music from the USA for military band, and illustrates this typical, multicoloured American amalgam of folk music, religious hymns, jazz, blues, marches and other military music. The music roll employed on the final track of this album is a registration of George Gershwin's own playing. © Channel Classics
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Klassiek - Verschenen op 25 september 2020 | Channel Classics Records

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Klassiek - Verschenen op 4 september 2020 | Channel Classics Records

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Founded in 1983 by Iván Fischer and Zoltán Kocsis, the Budapest Festival Orchestra has quickly cemented itself as one of the best formations in the world thanks to an exceptional ensemble of soloists, its cohesion and a particular warmth in its string sections. Numerous recordings have come to confirm their reputation of holding a extremely vast repertoire which dominates the works of Bartók, Kodály and Dvořák. It must now fight for its existence in the midst of considerable cuts imposed by the Hungarian government whose political ideas are opposed to those of the conductor and his musicians.Recorded in 2017 at the Palais des Arts in Budapest after a series of concerts, this new version of The Song of the Earth by Gustav Mahler gets off to a striking start with an almost telluric force. The power and fragility of the tenor Robert Dean Smith is paradoxically moving when faced with the amplitude of the timbre and eloquent, authentic voice of the alto Gerhild Romberger, who's singing is accurate and homogenous across all registers.At the podium, Iván Fischer sends forth the best of his imagination and a sense of subtlety by literally sculpting each lied until the deeply moving Abschied (“Adieu”) finale in which the tormented harmony opens a door to nothingness, in an almost serial atmosphere where the air becomes scarce. A great interpretation. © François Hudry/Qobuz
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Klassiek - Verschenen op 4 september 2020 | Channel Classics Records

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A rare synergy emerges when the unique lyricism of Channel Classics trumpeter Wim Van Hasselt is combined with the boundless creativity of percussionist Koen Plaetinck. Inspired while recording as joint soloists with the Budapest Festival Orchestra, these former student-colleagues and soul-mates resolved to form a musical duo. A limitless faith in each other's musical ability, an unconditional mutual respect, and a friendship of many years join to form an exceptional symbiosis with a single, unequivocal, shared conviction: authenticity, beauty and creativity must be the sole objective. As a counterweight to the sometimes fleeting and trivial professional daily tasks, the project has one all-embracing motivation: a search for depth, and the experience of a creative process that fuses uncompromised music-making, authenticity and renewal. In dialogue with various carefully-selected composers and visual artists, while exploring all the limits of their extensive instrumental inventory, they passionately recount their personal story. Imaginary Mirror, equipped with a variety of trumpets, a ridiculous array of percussion instruments, and far too many electronics, Wim Van Hasselt and Koen Plaetinck combine to create an entirely new musical space. Presenting brand-new commissions as well as arrangements, they stretch the boundaries of classical music into a unique world of sounds and visuals, infused with traditional music, electro-underground, improvisation and - above all - their own vivid personalities. What if dreaming became reality? The imaginary tangible? When living a fairy-tale the fantastic is the concrete... Inspired by the electrifying philosophy of the Surrealists from the roaring 20's, they create a stage full of thoughts - in place of stories - their music literally surrounded by compelling visuals.They drown the audience in colour and sound.You will not need a manual.The beauty of music. Nothing less, nothing more? © Channel Classics
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Klassiek - Verschenen op 19 juni 2020 | Channel Classics Records

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Klassiek - Verschenen op 24 april 2020 | Channel Classics Records

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Klassiek - Verschenen op 27 maart 2020 | Channel Classics Records

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In 2002 Florilegium became involved with Bolivian Baroque and since 2003 Ashley has been training vocalists and instrumentalists there. Initially solo singers, he formed Arakaen – dar Bolivia Choir in 2005. In 2008 Ashley was the first European to receive the prestigious Bolivian Hans Roth Prize, given to him in recognition of the enormous assistance he has given to the Bolivian indigenous people, their presence on the international stage and the promotion and preservation of this music. For the last 28 years of collaboration with Channel Classics my main inspiration for recording has always been repertoire, either to convey our individual interpretation of known pieces I am passionate about or to present otherwise unknown repertoire for the very first time. This recording, however, came about through a chance encounter with a remarkable private collection of flutes, held in Frankfurt. This collection includes several hundred historical flutes, spanning the history of the instrument from one of the earliest surviving 3-piece French flutes made by Chattillion in c.1680. Many of these are baroque and other one-keyed flutes and most of them have not been used in recordings before. The collection includes some of the finest examples of playable baroque flutes anywhere in instruments at the time of their manufacture. © Channel Classics
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Klassiek - Verschenen op 6 maart 2020 | Channel Classics Records

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Klassiek - Verschenen op 8 november 2019 | Channel Classics Records

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Anna Fedorova embraces the Russian and, more generally, romantic repertoires. Her performances with the Nodwestdeutsche Philharmonic Orchestra - given to the Great Hall of the royal Concertgebouw and watchable on her YouTube channel - prove it. The concertos by Tchaïkovski and Rachmaninoff, among others, show a passionate and talented musician of irrefutable technique. On the record, Anna Fedorova adopts the role of a storyteller, the name of her record, her second for the label Channel Classics Records. Her previous record, Four Fantaisies, had already embraced the power of the romantic imagination. Placed under the tutelage of Chopin, Liszt and Scriabin, the Ukrainian pianist acts like a poet making music out of stories. The ballads and sonnets are of epic charm and are sometimes danceable; they are often contemplative and are always filled with a strong poetic nature. The “pages” that Anna Fedorova has lifted from these three composers are episodes of great accomplishment where the piano acts as their herald. While the epic aspect of these works is particularly prevalent, the pianist by no means ignores the more poetic dimensions. For the Sonate No.4, Op.30 by Scriabin, she delivers a version that is both thrilling and fanatic. In less than 9 minutes of music, an entire new world is created (Andante) that unravels into a formidable storm (Prestissimo volando). Anna Fedorova owns this complex score: the melodies break out in surges of great clarity that listeners can delightedly move with. From Chopin to Scriabin, we are observers of a language that continually verges more and more on abstraction and harmonic invention all while witnessing the story of a musician’s development. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 8 november 2019 | Channel Classics Records

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Klassiek - Verschenen op 25 oktober 2019 | Channel Classics Records

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Integral collections of Beethoven’s work are coming thick and fast in the runup to 2020, the 250th anniversary of the immortal composer loved by all. Admittedly, when one is a fan, enough is never enough. But one wonders what the editors and labels will do in 2027 for the bicentenary of Beethoven’s death with a selection of musicians which is more or less the same as today’s… Since the invention of the CD, every conductor wants to leave their mark on history with their very own interpretation of the Nine Symphonies. There is nothing more exciting for critics and music lovers alike than following the different styles of each different interpretation. The path chosen by Arthur Nikisch is passionate but challenging; there is no linearity and apart from from the sound quality, there is no sense of evolution, a strange concept in art as everyone knows. Each recording is the reflection of its time period with its stars, its unfairly overlooked artists and its followers of an exacerbated romanticism or a decanted, intellectual even abstract vision. Ivan Fischer’s version (Symphonies 1 & 5 here) is remarkable first and foremost thanks to the exceptional standard of the Budapest Festival Orchestra, founded in 1983 with his fellow countryman, the late Zoltan Kocsis. Made up of the best young musicians from the distinguished Hungarian conservatoires, this orchestra has quickly made a name for itself as a top tier European ensemble thanks to rigorous hard work, which involves the practice levels of an orchestra with the stringency of chamber music. The expert versatility of the strings, the character of the wind section, the power of the brass and the dancing, rhythmic bounce give this part of an integral work a very particular charm. © François Hudry/Qobuz
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Klassiek - Verschenen op 27 september 2019 | Channel Classics Records

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Tchaikovsky’s Serenade is one of the most beautiful of all works for string ensemble, and it has been frequently performed by Amsterdam Sinfonietta since its establishment in 1988. Arensky wrote his Second String Quartet in memory of the composer, with whom he was befriended. His homage overflows with melancholy and dark tone colours. The middle movement, based on a song by Tchaikovsky, was later arranged by Arensky for string orchestra. Amsterdam Sinfonietta took upon itself to arrange and perform the entire Second Quartet. In Tchaikovsky’s footsteps, Arensky made use here of religious chant and motifs from Russian folk music. © Channel Classics
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Klassiek - Verschenen op 27 september 2019 | Channel Classics Records

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Symfonische muziek - Verschenen op 20 september 2019 | Channel Classics Records

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Concerten voor viool - Verschenen op 13 september 2019 | Channel Classics Records

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Ning Feng, 1st Prize Winner of the Paganini Competition 2006, brings you Paganini’s Violin Concerto No. 1 and Vieuxtemps’ Violin Concerto No. 4 on his Stradivari ‘MacMillan’, 1721. ‘Virtuosismo’ is his second recording with OSPA – Orquesta Sinfónica del Principado de Asturias under the baton of conductor Rossen Milanov. The previous album ‘Apasionado‘ received excellent reviews. Paganini, Violin Concerto No. 1 Paganini composed all his pieces for violin and orchestra for his own use, keeping them secretly stowed away. Consequently, most were published only after his death, and some not until recent decades. The first of his six violin concertos is a virtuosic tour de force, demonstrating not only his incredible technical command but also his great talent for melody and drama. It breathes the spirit of Rossini, whose operas were enormously popular at the time. Originally composed in the key of E flat major, Paganini tuned his violin a semitone up so that he could play in D major, as it were, and thus execute complicated double stops that are impossible in E flat while producing a brighter sound from his instrument. It was partly for this reason that contemporaries said the concerto was ‘unplayable’. Today the work is always performed in D major. Vieuxtemps, Violin Concerto No. 4 The next piece was written by the son of a weaver, amateur violinist and violin maker from Belgian Verviers named Henri Vieuxtemps (1820-1882). A child prodigy, he enjoyed an outstanding career as a violinist from the age of six, studying in Vienna and Paris (with Charles de Bériot) and touring Europe, Russia and the USA. From 1871 he was an influential teacher at the Brussels conservatory, where his pupils included Eugène Ysaÿe. But within two years, in 1873, a stroke caused lameness in his right arm, and Vieuxtemps was forced to withdraw from teaching. He spent his final years composing in a sanatorium in Algeria, where his daughter had settled with her husband. Vieuxtemps was greatly admired by contempories such as Berlioz and Paganini, whom he met in London. When Robert Schumann heard him in Leipzig in 1834, he described the fourteen-year-old’s playing as magical and compared him with Paganini. That was during a tour of Germany and Austria, when Vieuxtemps was accompanied by his father. After playing Beethoven’s Violin Concerto in Vienna, he decided to stay there for some time to study composition with Simon Sechter, under whom Anton Bruckner was later to study counterpoint. After his London debut in 1834, Vieuxtemps pursued his composition studies with Anton Reicha in Paris, the fruits of which are particularly evident in his First Violin Concerto, dating from 1836 (and later published as no. 2). The Fourth Violin Concerto in D minor opus 31, on this recording, was Vieuxtemps’ own favourite concerto. He composed it when employed as a court violinist in Saint Petersburg (1846-1851). © Channel Classics
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Klassiek - Verschenen op 13 september 2019 | Channel Classics Records

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On their second duo album, baritone Thomas Oliemans and pianist Paolo Giacometti record the most celebrated of all Lied repertoire: Franz Schubert’s Winterreise. “When I was a child, a number of volumes in my father’s bookcase, too thick and doubtlessly too difficult for me, already exercised an irresistible attraction. They cried out to me from the shelf: intriguing titles which promised a magic mountain, something about a hundred years, loneliness and searching for lost time. I started to read many of them too early, I got through some with goose flesh, while others forced me to throw in the towel in despair. In music I had a predilection for heavy symphonies, huge gestures and extensive forms, and I hunted down repertoire and sound worlds that were new to me. (…) In my hunger to discover repertoire as yet unknown to me, one day I came across Winterreise in the first volume of the Peters edition of Schubert songs. The title intrigued me straightaway, just as much as those books, but it seemed equally unapproachable. (…) As each year passes it has become a work to turn back to again, to measure myself against, to immerse myself in; what is more, as soon as thehurdy-gurdy man has turned his handle for the last time, it seems to invite me to open the score once more at page one and try yet again to conquer this magic mountain of the lied repertoire.” (excerpts from liner notes) © Thomas Oliemans, August 2019/Channel Classics
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Viool solo - Verschenen op 26 april 2019 | Channel Classics Records

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Still relatively unknown outside of Northern Europe, Rosanne Philippens is one of the best Dutch violinists of her young generation. She has an exclusive recording contract with label Channel Classics. The fifth album of this fruitful collaboration, "Insight", is also the young musician’s very first solo programme, proposing works from Biber, Bach, Enescu and Ysaÿe, as well as a few improvisations, bridging the gap between pieces. Right from the incipit of Biber’s Passacaglia, Rosanne Philippens amazes with the fleshy, woody sonority of her instrument, the brightness of her phrasings and the flow of her conceptions. This programme features a dialogue between centuries, a conversation between wildly diverse aesthetics, and must be approached like a genuine journey, without markers, a dive into the unknown. The works are fragmented; J. S. Bach’s Partita No. 2 for instance is presented in two distinct pieces, and doesn’t even include the final Chaconne − maybe in volume two? Biber’s wonderful Passacaglia (perhaps its most beautiful recorded interpretation on a violin) opens and closes the album. To go along, some fantastic pieces by Enescu, starting with the Sarabande, a clear homage to the Thomaskantor. In the very rare Airs dans le genre roumain, Rosanne Philippens attests her natural insight into Eastern European compositions – she has already recorded many of Bartók and Szymanowski’s works. An artist worth discovering in a particularly bold programme. © Pierre-Yves Lascar/Qobuz