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Clásica - Publicado el 21 de mayo de 2021 | harmonia mundi

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Clásica - Publicado el 7 de mayo de 2021 | harmonia mundi

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Música de cámara - Publicado el 30 de abril de 2021 | harmonia mundi

Hi-Res Libreto Premios Diapason d'or - Diapason d'or / Arte
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Clásica - Publicado el 30 de abril de 2021 | harmonia mundi

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Clásica - Publicado el 7 de mayo de 2021 | harmonia mundi

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Continuing their exploration of Beethoven's Symphonies, François-Xavier Roth and Les Siècles give us an opportunity to rediscover the Eroica in all its modernity and power. Thanks to the magic of period timbres, Beethoven’s intended instrumental balances and effects are restored in revelatory fashion. The Overture to Méhul’s opera Les Amazones, written eight years later, will be a discovery for many listeners. This time it was a French composer who established a further milestone in the new aesthetic of Romanticism. © harmonia mundi

Clásica - Publicado el 9 de abril de 2021 | harmonia mundi

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Clásica - Publicado el 2 de abril de 2021 | harmonia mundi

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Clásica - Publicado el 26 de marzo de 2021 | harmonia mundi

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The output of the prolific C.P.E. Bach continues to yield gems that justify the admiration of Mozart, among others, for his music. These six Symphonies for strings and continuo, Wq. 182, have been recorded before; greats Trevor Pinnock and Christopher Hogwood both committed sets to disc, but recordings in the 21st century have been sparse. This is odd, inasmuch as the pieces were commissioned by Vienna's Baron Gottfried van Swieten, a connoisseur who did much to introduce the music of J.S. Bach to both Mozart and Beethoven and for whom C.P.E. Bach might have been expected to put forth the maximal effort. As it happens, he did. These are late-career experimental works that live up to the "beyond the limits" booklet description of violinist-conductor Amandine Beyer. She and her group Gli Incogniti, which has specialized mostly in Baroque music, are the first to give these works the contemporary rough-and-tumble Baroque treatment, which given the startling content, may well be what listeners are after. Gli Incogniti are here bulked up to seven violins and pairs on the other string parts, which is all to the good. Listen to the careening first movement of the Symphony in C major, Wq. 182/3, or the almost unthinkably dramatic opening of that symphony's slow movement. It's quite a contrast from earlier readings, and Beyer approaches the essence of the Sturm und Drang quality that until now has been more associated with C.P.E.'s keyboard music. Harmonia Mundi's sound from the Théâtre d'Arras is ideally idiomatic, physical, and intense without overdoing the close-ups. This is a performance of C.P.E.'s orchestral music that even detractors will concede is very exciting. © TiVo
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Clásica - Publicado el 19 de marzo de 2021 | harmonia mundi

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Clásica - Publicado el 19 de marzo de 2021 | harmonia mundi

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Dúos - Publicado el 19 de marzo de 2021 | harmonia mundi

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Clásica - Publicado el 26 de febrero de 2021 | harmonia mundi

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Música de cámara - Publicado el 19 de febrero de 2021 | harmonia mundi

Hi-Res Libreto Premios 4F de Télérama
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Clásica - Publicado el 19 de febrero de 2021 | harmonia mundi

Hi-Res Libreto Premios Diapason d'or / Arte
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Clásica - Publicado el 5 de febrero de 2021 | harmonia mundi

Hi-Res Libreto Premios Diapason d'or
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Clásica - Publicado el 5 de febrero de 2021 | harmonia mundi

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Clásica - Publicado el 15 de enero de 2021 | harmonia mundi

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Clásica - Publicado el 8 de enero de 2021 | harmonia mundi

Hi-Res Libreto
The "Stradivari Series" appearing on the Harmonia Mundi label features instruments from the Museum of Music housed at the new Philharmonie de Paris. That did not oblige the producers to make the actual recordings at the Philharmonie, which is too large a space for Beethoven's chamber music and forces the engineers to mike the players too closely to create a sense of intimacy. However, the marquee attraction is the instruments, and they're quite interesting, with notes going into a good deal of detail about their history. Pidoux's Pietro Guarneri cello, made in Venice in 1734, sings with the newly operatic quality of late Baroque instrumental music, and it's nicely suited to the two early Beethoven cello sonatas here, key jumps forward in which Beethoven grasped the structure of the biggest Mozart sonata forms. Especially novel, though, is the piano, an 1855 product of the Königsberg maker Gebauhr. It has a smooth lower register and a sparkling top, pointing directly toward the modern German pianos of the late 19th century but retaining a lightness and agility that suits it to Beethoven. Gebauhr instruments are rather rare, and piano buffs may well want the album for the presence of this one alone. The performances get the sweep of the two sonatas, with a deliberate performance of the Cello Sonata No. 1 in F major, Op. 5, No. 1, and a brisker G minor sonata, Op. 5, No. 2; the two smaller works that close the album are less effective. An album of great interest to those absorbed in historical performances of Beethoven. © TiVo
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Clásica - Publicado el 4 de diciembre de 2020 | harmonia mundi

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Clásica - Publicado el 4 de diciembre de 2020 | harmonia mundi

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