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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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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 August 1, 2016 | Solstice

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World - Released October 2, 2015 | Casa Editions

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Classical - Released September 1, 2015 | Solstice

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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Exceptional Sound Recording - Hi-Res Audio
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Classical - Released July 3, 2015 | Channel Classics Records

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Concertos - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica - Exceptional Sound Recording - Hi-Res Audio
There are numerous recordings of Bach's concertos avec plusieurs instruments, or with several instruments, as he called them. Posterity has labeled them double and triple concertos, but Bach's characterization lends support to Rachel Podger's interpretation here, which is based on the supposition that Bach's orchestra in such works consisted of one instrument per part. There are still many objections to this idea, beginning with the fact that the concertos of Vivaldi that served as Bach's model were demonstrably played by larger forces (Rousseau called the ensemble at the Ospedale della Pietà a "great orchestra"). However, if you want to try out Podger's playing, or the one-instrument-per-part approach, or historically oriented performance in general, this release (or its companion album of violin concertos) makes a good starting point. Podger, who has emerged as one of the leading Baroque violin players in Britain, is altogether appealing here, interacting almost playfully with her partner soloists and her hand-picked and -developed Brecon Baroque ensemble, and delivering sober slow movements that correctly prize contrapuntal detail. The one-instrument-per-part idea is especially defensible in these concertos even if you don't buy it general; Bach even called the Concerto for two violins in D minor, BWV 1043, a "concerto a sei," concerto for six. The Baroque-era instruments have wonderful timbres that define the constantly shifting textures of this music (its primary appeal) beautifully, and the Challenge Classics engineering team gets a big sound out of London's St. John the Evangelist church without booming resonance or stodgy cathedral hollowness. Very well done on all counts. © TiVo
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Classical - Released July 3, 2015 | Channel Classics Records

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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Editor's Choice - Exceptional Sound Recording - Hi-Res Audio
Given that the aim of this recording, announced in the booklet notes, is to "[demonstrate] how composers in Germany, Italy, Austria, and England responded to the challenges of writing for the violin senza basso, it's a bit odd to begin the proceedings with a work that's not for violin at all. However, the transcription for solo violin of Bach's underplayed Partita for flute in A minor, BWV 1013, by violinist Rachel Podger herself, is quite idiomatic to the violin, and Podger's performance is lively and attractive. From Bach, Podger looks outward to other solo violin works rather than back to the tradition immediately preceding Bach's unaccompanied sonatas and partitas. The works don't have anything directly to do with one another, but they are united in part by being Podger's favorites, and there are some fascinating offbeat pieces that do indeed seem to have counterparts in Bach's magisterial compendia. Consider the very nice pair of solo sonatas by Giuseppe Tartini. In the Giga movement of the first one, the violin takes its solo and is answered by itself in the role not only of harmonic accompaniment but of orchestral figure. The pieces by Nicola Matteis, who inaugurated the entire migration of Italian musicians to Britain, have a fantastic spirit, while the sonata by Pisendel, which may have preceded or followed Bach's pieces, is at least similar to them in language, although less deep. A selection from Biber's Rosary Sonatas works well as a finale. One minor flaw is that notes describe a sonata by Antonio Montanari that is not actually included; a more serious problem is overresonant church sound inconsistent with the chamber purposes of the music. © TiVo
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Classical - Released July 3, 2015 | Channel Classics Records

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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Hi-Res Audio
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Classical - Released July 3, 2015 | Channel Classics Records

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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or - Exceptional Sound Recording - Hi-Res Audio
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Classical - Released July 3, 2015 | Channel Classics Records

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When you find a good thing, stick with it. Or so thinks the Amsterdam String Quartet. Following on the heels of a very successful Channel Classics debut album featuring three Haydn quartets, the ASQ returns to "Papa" Haydn again for this second album. While technically specializing in period performances of composers circa 1762 to 1847, these four musicians have truly found their niche in interpreting Haydn. In fact, the ensemble is in the midst of a plan to perform all 68 of the Haydn quartets in 2009; it would do well to push for a recording to be made of each of these works and treat listeners to a full set of engaging playing. Rather than taking a chronological approach to programming, the ASQ chooses instead to draw quartets representative of different stylistic periods in Haydn's long journey with the string quartet. This album features the youthful Op. 20/4; the mature, dignified Op. 64/6; and the austere, forward-looking Op. 77/1. All three of these quartets are given the same focused attention to detail, graceful elegance, magnificent balance, clean intonation, and informed, musical interpretations. Vibrato is used with wonderful scarcity, tempos are highly contrasting, and the interplay between the four voices is entirely seamless. Channel Classics' rich, detailed SACD sound is the cherry on top of another installment by this very talented ensemble. © TiVo
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Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio
HI-RES£8.39£11.99(30%)
CD£5.59£7.99(30%)

Classical - Released July 3, 2015 | Channel Classics Records

Hi-Res Booklet Distinctions Hi-Res Audio