Albums

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Keyboard Concertos - Released November 2, 2018 | EPR-Classic

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released November 17, 2017 | HORTUS

Hi-Res Booklet Distinctions 5 de Diapason
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Secular Vocal Music - Released November 10, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
Around the Franco-Italian mezzo soprano Lea Desandre – who made her big début with William Christie in the Jardins des voix, then won the "Lyrical Revelation" prize in the Victoires de la musique in 2017 – the sopranos Nathalie Pérez and Chantal Santon-Jeffery have concocted a programme that takes in many different lyrical incarnations of Berenice of Egypt and her misadventures with the King, Antigono Gonatas, through the prism of Metastasio's Antigone, which has been set to music by well over thirty composers, some focusing more on Antigone, others on Berenice. We will hear little-known airs like those of Haydn, Mozart, Johann Christian Bach and Hasse: the principle virtue of this album is that it allows us to discover these rarities, which often call for virtuoso vocal talents, and so are perfect for the voices of the three singers presented here. A rarity among rarities, we will also find a stunning air from Marianna von Martinez who held a musical salon in Vienna which received visits from... Haydn and Mozart. © SM/Qobuz
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Classical - Released February 3, 2017 | Aparté

Hi-Res Booklet
At the court of Versailles, the daughters of Louis XV (referred to as 'Mesdames'), and in particular Adélaïde, devoted themselves to a regular practice of music and, apparently, demonstrated talent. Numerous composers (Simon, Rameau, Balbastre, Cardonne, Guignon) played for them, worked with them, and dedicated several works to them. 'À Madame', Divertissement pour Adélaïde, is an anthology, subjectively put together, of compositions that resounded in their drawing room. All the works on this programme are world premieres. These lovely, rare nuggets are mixed with a few unusual sonorities of marvellous carillons of the Marc-Antoine Le Nepveu clock (currently in the Cabinet de la Méridienne, located at the heart of the palace, on the first floor). The recording, made in the Grand Cabinet de Madame Victoire at Versailles and featuring two precious historical instruments from the palace's collections, faithfully reproduces the forgotten beauties of the Age of Enlightenment. An original invitation to travel back in time, as testimony to a musical afternoon at Versailles in the company of Mesdames.
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Symphonies - Released September 23, 2016 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Classical - Released October 30, 2015 | Ligia

Booklet
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Classical - Released January 1, 2016 | Passacaille

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Chamber Music - Released July 31, 2015 | Glossa

Booklet
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Trios - Released November 17, 2014 | Mirare

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 4 étoiles de Classica
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Classical - Released November 14, 2013 | Rondeau

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released September 3, 2013 | Metier

Booklet
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Classical - Released February 25, 2013 | naïve classique

Distinctions 10 de Répertoire - Cannes Classical Music Award
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Chamber Music - Released February 5, 2013 | Naxos

Booklet
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Classical - Released November 16, 2010 | BR-Klassik

Booklet
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Classical - Released July 1, 2010 | Da Capo

Booklet
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Chamber Music - Released May 3, 2010 | Ars Produktion

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Chamber Music - Released October 13, 2009 | naïve classique

Booklet
The title Cantare here refers not only to the voice but also to the harp of Isabelle Moretti, who has brought together a group of pieces transcribed from vocal models. Vocal tracks by veteran English soprano Felicity Lott serve to set off the solo harp tracks, which are just about without exception fearsomely virtuosic. Moretti brings to life such figures as Anglo-French-Austrian harpist Elias Parish Alvars, whom Berlioz dubbed the Liszt of the harp, and with good reason, judging from the set of variations on a tune from Bellini's Norma included here. Many of these Romantic virtuoso pieces have been all but forgotten, and in many ways the program has the delightfully intimate feel of a recital from around 1890, with familiar tunes from Lott setting up the exertions of the harpist. Yet more modern music effectively adds new shades to the mix; Benjamin Britten's harmonically adventurous setting of The Last Rose of Summer leads in one direction, while Over the Rainbow (which Lott says she sings in the shower) goes in another, and a piece by folk-Baroque Irish harpist Turlough O'Carolan in yet another. Lott, whose seventh decade of life has had very little effect on her voice, was the perfect choice for this project on Moretti's part with her longtime bent toward French music (and the heart of this program is French, whatever the putative nationality of the music). You can be assured that, even if the combination of harp and voice for you connotes what has been called potted-palm music, you'll find this album a total charmer. The transcriptions are by Moretti and others. Booklet notes and song texts are in French and English.
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Concertos - Released May 18, 2009 | naïve classique

Booklet
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Symphonic Music - Released January 27, 2009 | Phoenix Edition

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Chamber Music - Released November 6, 2006 | Avie Records

Mozart's flute quartets could stand alone as a prime example for the significant influence that publishers exerted over a composer's work. The Quartet K. 285 underwent key changes and movement substitutions under K. 285a, and additional key changes and perhaps author changes under K. 285b (the actual composer of these two movements is the subject of much debate). The version Mozart submitted for his actual commission contains one of his most sublime compositions for the flute -- the Adagio second movement of K. 285. Beethoven wrote infrequently for the flute as a solo or chamber instrument. The Op. 25 Serenade is his most significant contribution to this literature and comes from a time in his output when he was experimenting extensively with varying instrumental combinations. In it, he explores the flute's virtuosic and musical abilities equally. As in the Mozart quartets, the flute is the predominant carrier of the melody, although Beethoven allows for more interaction with the other instruments. Flutist Lisa Beznosiuk creates a lovely, warm sound on her period ebony flute. The period string instruments accompanying her do an adequate job, but Beznosiuk is clearly the star. Her performance seems equally at home in both virtuosic passages of K. 285 and Op. 25, as well as the more singing, operatic writing of K. 298.