Albums

4209 albums sorted by Date: from newest to oldest
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Symphonic Music - Released December 1, 2017 | Aeolus

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Symphonic Music - Released April 4, 2017 | Channel Classics Records

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Classical - Released April 4, 2017 | Channel Classics Records

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Classical - Released April 4, 2017 | Channel Classics Records

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Stories and Nursery Rhymes - Released March 17, 2017 | DLM Editions

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Classical - Released February 24, 2017 | Aeolus

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Symphonic Music - Released February 24, 2017 | Aeolus

Hi-Res Booklet Distinctions Diapason d'or - Hi-Res Audio
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Pop - Released October 28, 2016 | WM France

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Pop - Released October 7, 2016 | WM France

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Riding on the crest of the girl band wave following the colossal success of the Spice Girls, four-piece Hepburn are one of the few acts to pursue a more rock-led direction. Unlike the short-lived Thunderbugs and 21st Century Girls, they have avoided the dumper long enough to actually release an album. Their self-titled debut might be a little too lightweight to convert the cynical NME audience, but it's far more substantial than what most of their contemporaries have to offer. The joyous lead single "I Quit, is perhaps one of the best debut girl band singles of the '90s. Originally written for Natalie Imbruglia, its melodic acoustic verses and feisty chorus embodies Girl Power at its rock-pop finest and deservedly gave them a Top Ten hit. With its radio-friendly sheen, it's easy to see why they've been compared to power pop girl bands like the Bangles, but the rest of the album reveals their influences reach much more into alternative territory. The opening guitar riff of "Bugs" apes Nirvana's "Smells Like Teen Spirit," the crunching lo-fi sound of "Deep Deep Down" echoes early Garbage, while "I Can't Cry" could have been lifted from any Brit-pop album. Indeed, the band seem far more comfortable when their amps are turned up than when they attempt pure pop. The bubblegum chorus of "My Old Love" seems to have wandered in from a B*Witched record while the jangly "Here Comes Napoleon" verges on twee. And while Jamie Benson's unusual voice is certainly distinctive enough to give the band an identity, her strong Cockney accent and childlike tones often jar with the more guitar-heavy tracks. But overall, the issue of whether they're manufactured or not is pretty irrelevant. They're far more convincing than a lot of indie bands and are a refreshing alternative for anyone wanting their girl bands with a bit more edge. ~ Jon O'Brien
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Classical - Released August 1, 2016 | Solstice

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Classical - Released September 1, 2015 | Solstice

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio

Chamber Music - Released June 15, 2015 | INA Mémoire vive

Booklet Distinctions 4 étoiles Classica - Hi-Res Audio
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Symphonic Music - Released May 27, 2015 | Channel Classics Records

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Best known for performing music by modern Hungarian composers such as Bartók and Kódaly, and also for his numerous Mozart recordings in the 1990s, Iván Fischer takes a surprising turn in his repertoire by recording Mahler's Symphony No. 6 in A minor, "Tragic," with the Budapest Festival Orchestra, a bold undertaking for any maestro, but one for which he is well-prepared. Fischer has performed Mahler live on many occasions, and has devoted considerable time to studying the music before committing an interpretation to disc, so his 2005 Channel Classics release cannot be called careless or hastily planned. This symphony may not be as difficult to interpret and perform as are others of Mahler's gargantuan essays, but because expectations are high among devotees, Fischer has a tough job pleasing the cognoscenti. (Curiously, many obsessive Mahlerians have a marked preference for this work, possibly because it is the most coherent and powerful of the purely instrumental symphonies. Fischer's performance can be enjoyed as one of the best sounding to come along in years -- the nuances in the brass and percussion are especially marvelous -- and it can be taken as one of the most reasoned and thoughtful interpretations as well. Fischer aims for clarity and balance, and gets a transparent reading from the BFO that reveals every note. Yet a real feeling for Mahler's exaggerated emotional world seems to be lacking, and when the music should be wildly hysterical, appallingly grotesque, and running headlong toward catastrophe, Fischer's version keeps safely back from the edge of the abyss, dusts itself off, and reminds us that it is, after all, only a symphony, not the end of the world. Alas, the great recordings of the Symphony No. 6 actually do sound like the end of the world, and can almost create physical sensations of heartache and terror. This recording, however well it sounds and despite its many interesting features, has no such power, and is much less gripping than it should have been.
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Symphonic Music - Released May 27, 2015 | Channel Classics Records

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Symphonic Music - Released May 27, 2015 | Channel Classics Records

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Gioachino Rossini is most readily associated with opera overtures than opera -- to whom he was a major contributor -- and to some extent with sacred choral music and piano literature. Perhaps least of all he is recognized as a composer of instrumental and chamber music; while he did not produce an inconsiderable amount in these areas, much of his symphonies, concertante-styled works, and chamber music is early and simply cannot keep their pride of place in comparison with his far mightier operas. Nevertheless, Ivan Fischer and the Budapest Festival Orchestra have found much to admire in this neglected area of Rossini's efforts, and have recorded the Super Audio CD Gioacchino Rossini: Instrumental Music for Channel Classics. It includes two opera overtures, from La Scala di Seta and Semiramide, the first of his six String Sonatas in G major, two sets of variations, and a Serenata for rather odd combinations of instruments and finally a fanfare for four horns. The recording quality is strikingly immediate and forward, and the playing crisp and very professional. However, there is a rather bland, formal, and conservative feeling to most of it; the explosive excitement that kicks the disc off with the Overture to La Scala di Seta doesn't take hold and most of the rest comes off like a set of rather polite and uninteresting set pieces. There is a little peak of interest when the Andante, e Tema con Variazioni begins, owing to soloist Ákos Ács' lovely clarinet tone and the unanimity of the wind doublings, though once the piece gets rolling the same sense of ennui returns. It is not Rossini's music that's the issue here; certainly the string sonatas have been recorded as a set numerous times, perhaps most successfully by I Musici. The problem is that while Fischer and the Budapest Festival Orchestra achieve great precision and discipline in this music, they lack inspiration; tempi are sluggish and the sparkle one usually encounters in Rossini's music is reduced to a dull glint. While the basic idea of putting together a program of Rossini's purely instrumental compositions -- and therefore providing an alternative to the mountains of CDs devoted to his opera overtures -- is a good one, as a vehicle for that, Channel Classics' Super Audio CD Gioacchino Rossini: Instrumental Music is simply out of gas.