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Children - Released February 23, 2015 | LittleVillage

Hi-Res Booklet Distinctions Coup de coeur de l'Académie Charles Cros
HI-RES£14.38
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Classical - Released January 30, 2015 | Winter & Winter

Hi-Res Booklet Distinctions Diapason d'or - Coup de coeur de l'Académie Charles Cros - Exceptional Sound Recording
CD£7.19

French Music - Released April 29, 2013 | Artdisto

Distinctions Coup de coeur de l'Académie Charles Cros
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French Music - Released April 15, 2013 | Sterne

Booklet Distinctions Coup de coeur de l'Académie Charles Cros
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Pop - Released April 8, 2013 | Discograph

Booklet Distinctions Coup de coeur de l'Académie Charles Cros
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World - Released April 2, 2013 | Silène

Distinctions Sélection FIP - Coup de coeur de l'Académie Charles Cros
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Asia - Released March 4, 2013 | Inedit - maison Des Cultures Du Monde

Booklet Distinctions Coup de coeur de l'Académie Charles Cros
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French Music - Released February 18, 2013 | Wagram Music - 3ème Bureau

Distinctions 3F de Télérama - Coup de coeur de l'Académie Charles Cros
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Africa - Released December 29, 2012 | No Format!

Booklet Distinctions Sélection FIP - Coup de coeur de l'Académie Charles Cros - Sélectionné par Ecoutez Voir
3 stars out of 5 -- "Sissoko seems content with the way the world is on this....Perfectly pitched for summer." © TiVo
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Africa - Released November 26, 2012 | Buda musique

Distinctions Coup de coeur de l'Académie Charles Cros
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Classical - Released November 6, 2012 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Coup de coeur de l'Académie Charles Cros - 4 étoiles Classica - Hi-Res Audio
The sonata is one of the most common of all musical genres, but in France toward the end of the 17th century, with Italian styles still in official disfavor, it was barely even possible to write one. Composers were fascinated, however, by the new breezes blowing from Italy, and François Couperin began to write "sonades" even though he never published them. He later claimed to have written the first French sonatas. The seven works here are odd fusions of French and Italian styles, and they are beautifully animated by the French historical-instrument group Les Dominos and its leader, violinist Florence Malgoire. Three works, La Steinquerque (track 3), L'Astrée (track 5), and La Visionnaire (track 7), approximate the texture of the Italian trio sonata, with paired instruments over a continuo, but the rest have two pairs of solo instruments and mix the concertante or contrast principle with other kinds of ensemble writing. The movement structure is purely French, with sequences of very short movements that carry some kind of programmatic content. These were, for their time and place, rather experimental works, but their genius is that they have a relaxed ebb and flow in spite of that; they are loose in structure and have a sense of discovery of fresh textures. Malgoire and Les Dominos get the loose-limbed spirit of the music, offering textures in which the bass viol of Guido Balestracci is almost an equal partner with the violins and/or flutes above. The ensemble playing of this new group is exceptional, and one awaits with interest any move they might make toward repertoire beyond the French 17th century. © TiVo
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Classical - Released October 9, 2012 | Ricercar

Booklet Distinctions Coup de coeur de l'Académie Charles Cros
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Opera - Released September 25, 2012 | Ricercar

Hi-Res Booklet Distinctions 5 de Diapason - Coup de coeur de l'Académie Charles Cros - Hi-Res Audio
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World - Released September 17, 2012 | Bacchanales Productions

Distinctions Coup de coeur de l'Académie Charles Cros
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Pop - Released July 16, 2012 | Discograph

Distinctions Coup de coeur de l'Académie Charles Cros
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French Music - Released June 18, 2012 | Sostenuto

Distinctions Coup de coeur de l'Académie Charles Cros
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Classical - Released May 30, 2012 | Ricercar

Hi-Res Booklet Distinctions Diapason d'or - Coup de coeur de l'Académie Charles Cros - 4 étoiles Classica - Hi-Res Audio
This collection of oddities from Bach's family and circle is capped by a real curiosity: the Quodlibet, BWV 524, of J.S. Bach himself. This work, incompletely preserved, apparently captures something of what went on when the Bach clan, numerous indeed, held one of their yearly parties. Essentially they seem to have improvised couplets of humorous nonsense poetry, combining German, Latin, and occasionally bits of what seems to have been the dialect of Bach's native Thuringia region. Perhaps music too was part of this improvisation; it's not clear exactly what Bach contributed to what you hear here, but it would seem that he fit the poetry into elaborated versions of the music the group would have made up on the spot. The result is a nearly indescribable series of satires, musical puns, dirty jokes, and more, all of which may be entirely unlike the solemnly glorious Bach you know and love, but which nevertheless sheds light on his peculiar genius. The Quodlibet is not often recorded, but true Bach enthusiasts ought to hear it, and the ensemble Clematis overcomes a rather delicate one-voice-part sound to get into the lusty spirit of the thing. The Quodlibet is paired with three other unusual works: the Bach wedding cantata Der Herr denket an uns, BWV 196, and two cantatas based on the Bible's highly sexual meeting point of sacred and secular, the Song of Solomon. The cantata Mein Freund ist mein of Georg Böhm, strikingly (one might say obsessively) repeating the title phrase at the beginning of each stanza, is one of the few surviving vocal works of this North German composer best known as one of J.S. Bach's predecessors in organ composition. Apparently meant for liturgical use, it is cut from the same cloth as Johann Christoph Bach's secular Meine Freundin, du bist schön. This Bach was not J.S. Bach's son but his first cousin once removed, a generation older. Nobody is going to put this on a list of essential Bach purchases, but there are many attractions, not least the delicately vibrato-shy singing of soprano Mariana Flores. © TiVo
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Classical - Released May 15, 2012 | Phi

Hi-Res Booklet Distinctions Coup de coeur de l'Académie Charles Cros - 4 étoiles Classica - Hi-Res Audio
The recorded repertoire of Belgian conductor Philippe Herreweghe is centered on Bach, but stretches from the Renaissance to Mahler and Bruckner. Regardless of era, he seems to do best in sober, complex structures that he can unpack with a combination of perfect control and great surface beauty. He has rarely obtained more perfect results than with this recording of works by the towering figure of the Spanish Renaissance, Tomás Luís de Victoria. The Officium Defunctorum, described in the album annotations as a swan song, in fact fulfilled that role both for its dedicatee, the Empress Maria of Spain (Victoria's longtime employer), and for Victoria himself, who wrote nothing else after publishing this music in 1605; he died in 1611. The Offices consist of a requiem mass (Missa pro defunctis), a pair of motets, and a Libera me separate from the mass. The collection seems disparate, but everything is knit together in Victoria's setting. Each section absorbs plainchant seamlessly into the texture, and the overall somber mood is broken by the anguished pleas of the Offertory, asking God for deliverance from the trials of Hell. Herreweghe deploys a 13-voice version (all adults, mixed gender) of his Collegium Vocale here; many of the singers are stars of modest repute on their own, and the vocal textures he draws from them are awesomely rich despite the restricted palette of the music. A selection of Victoria motets rounds out the program, and any one of them would be worth the purchase price. Renaissance choral singing just does not get better than this. © TiVo
CD£12.99

French Music - Released May 14, 2012 | Jive Epic

Distinctions Coup de coeur de l'Académie Charles Cros
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World - Released March 23, 2012 | Inedit - maison Des Cultures Du Monde

Booklet Distinctions Coup de coeur de l'Académie Charles Cros