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Klassiek - Verschijnt op 17 december 2021 | Claves Records

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Klassiek - Verschenen op 19 november 2021 | Claves Records

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Klassiek - Verschenen op 22 oktober 2021 | Claves Records

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Jean Françaix had a passion for wind instruments, in particular for the dextuor, an original formation for which he could combine the expressive richness of the octet, so dear to Mozart, with the shimmer and volubility of the wind quintet. Throughout this recording, it was an immense pleasure to immerse oneself in his music, to let oneself go with the contrasting moods and atmospheres, in turn funny, tender, casual or elegiac. A pleasure shared by the musicians of the Lausanne Chamber Orchestra, who were keen to showcase their sense of transparency, their musicality and their flawless virtuosity. We are therefore very happy to share these wonderful moments with you, and hope that listening to this disc will bring you happiness and joy. © Claves Records
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Jazz - Verschenen op 8 oktober 2021 | Claves Records

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Klassiek - Verschenen op 3 september 2021 | Claves Records

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Klassiek - Verschenen op 10 augustus 2021 | Claves Records

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Tango - Verschenen op 9 juli 2021 | Claves Records

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Klassiek - Verschenen op 25 juni 2021 | Claves Records

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In the middle of the 16th century, the Geneva Psalter infected the whole of Reformed Europe – Switzerland included – with a true psalm fever. The first complete collection of all 150 psalms, promoted by the Genevan reformer Jean Calvin, was published in 1562. The psalm verses were translated into French and provided with melodies by various Genevan cantors. Thanks to the collection’s immense importance for the Reformation and its unique artistic content, these psalms inspired like none before the most influential composer of the time to write a large number of polyphonic psalm settings. The four-part psalms composed by Claude Goudimel (ca. 1514-1572) were published in 1564, just two years after their initial release. Set in a simple note-against-note setting with the well-known Genevan melodies in the tenor part, these psalms quickly gained incredible popularity. © Claves Records
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Klassiek - Verschenen op 11 juni 2021 | Claves Records

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Concertmuziek - Verschenen op 4 juni 2021 | Claves Records

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Concertmuziek - Verschenen op 7 mei 2021 | Claves Records

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Klassiek - Verschenen op 16 april 2021 | Claves Records

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Klassiek - Verschenen op 26 maart 2021 | Claves Records

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The Mass in B minor holds a very special place in J.S. Bach’s output: a work of grandeur, an opus ultimum, it was not composed as such but is the result of an assembly of pieces written at different times and for different circumstances. Bach worked on it during the years 1748-1749, until his eyesight, which had gradually deteriorated, was completely lost. The idea of bringing together pieces drawn essentially from the vast corpus of cantatas was not unusual; a similar approach was taken by several of his contemporaries, such as Handel, and Bach himself had done so for the short masses he composed in the late 1730s. These were called parodies. Moving from the German text of the cantatas to the Latin text of the masses meant adapting the vocal lines, with additions and deletions, polyphonic and harmonic enrichments, and changes in instrumentation. Throughout his life, Bach never ceased to revisit his works with a view to improving them. Imagining the production of a monumental Mass, which can be seen as a musical testament to him, Bach began by exploring the repertoire of his own music, while studying various Masses by other composers that were available to him (and among the scores he studied was Pergolesi’s Stabat mater, which he himself had adapted). He decided above all to use a mass (Missa in Lutheran language) composed in 1733 after the death on February 1 of Augustus the Strong, ruler of Lutheran Saxony, on which Leipzig and Catholic Poland depended. It consisted, as was the case with the Lutheran masses, of the Kyrie and the Gloria, the music of which was largely original (only four of the nine pieces in the Gloria come from earlier compositions). But Bach wanted to compose a Mass with the different parts of the Catholic Ordinary, with the Credo, Sanctus, Benedictus and Agnus Dei. Faced with the magnitude of the two movements of the Missa, each as impressive as the other, Bach was compelled to write a large Credo. © Claves Records
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Kamermuziek - Verschenen op 12 maart 2021 | Claves Records

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Tango - Verschenen op 11 maart 2021 | Claves Records

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Kamermuziek - Verschenen op 7 februari 2021 | Claves Records

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Compositions from both East and West here bring together the powerful voices of six women composers from contrasting cultures. Their music ranges from the Romantic period via Impressionism and Neoclassicism to the present. Vivid impressions alternate with absolute music, strict sonata forms with free forms full of delicate musical poetry. The standard repertoire of the 19th and 20th centuries, dominated by the male “Bs” Beethoven, Brahms, Bruckner, Bartók and others like them, is increasingly being freshened up by works either long forgotten or suppressed that were composed by women who just happen to have the same initial for their surnames, such as Grażyna Bacewicz, Agathe Backer-Grøndahl, Elsa Barraine, Amy Marcy Beach, Sylvie Bodorová, Mel Bonis, Henriëtte Bosmans, Lili and Nadia Boulanger and Joanna Bruzdowicz. Lili Boulanger and Vítězslava Kaprálová are united by a tragic fate, for both died at the age of just 24. Vítězslava Kaprálová (1915-1940) was the daughter of Janáček’s master student Václav Kaprál. She was born in Brno, and was early on recognised as a musical "Wunderkind". Nadia Boulanger (1887-1979) was born and died in Paris. Although she ceased composing at 25, she made her name as a composition teacher. The Parisian composer Lili Boulanger (1893-1918) achieved overnight fame when she became the first woman to win the legendary "Grand Prix de Rome", with her cantata Faust et Hélène. She was often sick as a child, and she died on 15 March 1918, just ten days before her role model Claude Debussy. It was in Rome in 1914 that she composed the expressive, atmospheric scenes conjured up in her D’un vieux jardin, D’un jardin clair and Cortège. Henriëtte Hilda Bosmans (1895-1952) was born in Amsterdam, where she studied at the Conservatory and also privately with the composer Willem Pijper. She composed numerous songs to French texts, several solo works with orchestra, a String Quartet and the Sonata in A minor for cello and piano (1919). Fanny Hensel-Mendelssohn (1805-1847) was born in Hamburg, and in 1829 married the painter Wilhelm Hensel. She died in Leipzig. Her cycle Das Jahr of 1841 comprises 12 character pieces, and was composed as a reminiscence of a trip to Italy. Stephanie Haensler was born in Baden in 1986 and studied with Robert Zimansky (violin) and Isabel Mundry (composition) at the Zurich University of the Arts. Her composition ni dónde, ni cómo is based on the text of a Chilean women’s artists’ collective, protesting about violence against women. © Claves Records
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Klassiek - Verschenen op 15 januari 2021 | Claves Records

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Klassiek - Verschenen op 18 december 2020 | Claves Records

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Klassiek - Verschenen op 4 december 2020 | Claves Records

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« One hot summer day, I headed due south from London and crossed France and Spain on my road bike. Challenging it was, yet beautiful, emotional and colourful all at once — while pedalling thousands of kilometres, the journey brought me closer to my innermost core. Upon my return home, I wished to express all the intense feelings and sensations I experienced on the road in my own way — the language of music. The metamorphosis was already underway when I became aware of the duende and after digging a bit deeper, I immediately sensed that it was this feeling which touched me on my journey, giving me strength and letting me connect with people and their land more profoundly ». « There is a duality at play between the repetition of recording and the spontaneity and unpredictability of duende — and to summon duende, the process had to be as free and fluid as possible: all sessions built up to a final complete ‘recital’-take to capture the spirit of live creation. This was masterfully recorded by Jean-Martial Golaz — a magician of sound who effortlessly played the timeless acoustics of La Salle de Musique, La Chaux-de-Fonds to create a soundscape from another time. We intuitively found the golden balance to bring out the whispers of burning wind to the cries of flamenco from the old Steinway dating back to 1966 — the very same piano on which the great chilean pianist Claudio Arrau recorded Debussy’s Images in 1979. The soul of the piano was both conjured up and tamed by Corinne Wieland — a consummate piano technician. My gratitude goes out to both of them — this team gave me the wings to take off and be free.» Teo Gheorghiu / © Claves Records
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Concertmuziek - Verschenen op 4 december 2020 | Claves Records

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The two Sinfonia Concertante for Violin and Flute and for two Cellos by Antoine Reicha show an astonishing balance between innovation and reflection. They bear witness to an outstanding virtuosity and art of composition, which revolutionise forms through spectacular, enthusiasm-provoking lines of execution and through novelties of writing that impact their deeper structures. A composer who established a link between the Enlightenment and Romanticism, Vienna and Paris, Joseph Haydn and César Franck (one of the last among his many pupils), Reicha can no longer be reduced to his theoretical and didactic dimension alone: his extensive work, still too little known, continues to surprise us. © Claves Records