Albums

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Violin Concertos - Released November 16, 2018 | LSO Live

Hi-Res Booklet Distinctions 5 de Diapason
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Duets - Released November 9, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
At a time when Mozart was writing his first sonatas for violin and clavier, in 1778, it was the done thing to write piano sonatas with violin accompaniment in which the violin part is fairly unobtrusive. The purpose of this was not to put off the target audience for the scores: educated amateurs. But Mozart paid no heed to this convention and took off into a new world with real duets, in which the two instruments found themselves on an even footing. At the same time, he avoided the corrective exaggeration which would appear in some scores which resembled violin concertos with a little piano support. Here we have a perfect balance between the two players: Isabelle Faust on the violin and Alexander Melnikov at the clavier. The latter of the two plays on a copy of a Viennese fortepiano made in 1795 by Anton Walter. The sound balance is utterly perfect, which is a relief, as all too often these sonatas either favour the keyboard part when played on the piano or the violinist tries to force it. We have here two sonatas written in Paris shortly after the death of Mozart's mother (who accompanied him on the journey), and then another from 1787 written in the wake of Leopold Mozart's death. Despite this the composer seems to be putting on a brave face, flashing a smile tinged with a tender nostalgia on the Sonata in E Minor K. 304. © SM/Qobuz
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Keyboard Concertos - Released November 2, 2018 | EPR-Classic

Hi-Res Booklet Distinctions 5 de Diapason
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Chamber Music - Released September 21, 2018 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - 5 étoiles de Classica
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Symphonic Music - Released September 14, 2018 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - 5 étoiles de Classica
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Solo Piano - Released September 7, 2018 | Chandos

Hi-Res Booklet Distinctions 5 étoiles de Classica
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Full Operas - Released August 31, 2018 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Solo Piano - Released July 6, 2018 | Chandos

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 5 étoiles de Classica
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Solo Piano - Released June 29, 2018 | Brilliant Classics

Hi-Res Booklet Distinctions 5 de Diapason
If you had to name the bridge between Beethoven and Schubert, it would have to be Dusek. Sadly, his lack of a local following – Beethoven, Mozart, Hayden, Schubert and Brahms all had adopted home towns to root for them, after all – has made him less of an obvious choice. Born in Lithuania, he went to live in St Petersburg, where he dodged deportation to Siberia by moving to Paris, where he dodged a revolutionary tribunal by fleeing to London, which he had to leave in a hurry in order to escape prison, winding up in Hamburg... And eventually he would find himself in Prague, and, finally, Paris, where he died at the age of just 52. For this third volume of his complete sonatas, Alexei Lubimov – playing a 1799 Longman-Clementi fortepiano – has chosen two monuments of his mature period: the 18th Sonata "L'Adieu" of 1800 and the staggering 28th Sonata "The Invocation" from 1812. These works reveal a Dussek who is anchored as much in the past – with Bach's polyphonic rigour and an elegance of writing taken from Mozart and Hayden – as he is in the present, with the power of Beethoven; and indeed the future with impressive turns of harmonic and pianistic daring. His years spent with London's Broadwood piano-makers, with whom he would work on many innovations, were clearly not in vain. Alexei Lubimov studied with Heinrich Neuhaus – the great Russian piano teacher – and at the start of his career specialised in the hyper-avant-garde of Boulez, Cage and Stockhausen, before turning towards period instruments, which he was the first to bring to the very conservative Moscow Conservatory. From the 1980s he was able to excite the interest of the whole Soviet musical world in the fortepiano, before developing a global career. © SM/Qobuz
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Symphonic Music - Released May 4, 2018 | Signum Records

Hi-Res Booklet Distinctions Gramophone Record of the Month - 5 étoiles de Classica
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Solo Piano - Released April 27, 2018 | Brilliant Classics

Hi-Res Booklet Distinctions 5 de Diapason
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Opera - Released February 16, 2018 | Orfeo

Hi-Res Booklet
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Solo Piano - Released February 2, 2018 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Choc de Classica
Like Stein’s fortepianos, the copy of a Walter and sons (a Viennese fortepiano once owned by Mozart) played here by Maxim Emelyanychev is equipped with a knee lever, the ancestor of the damper pedal. No doubt Mozart was inspired by the timbres, the dynamic and harmonic possibilities of this new instrument: the Fantasia in C minor that starts off this album highlights this orchestral − almost operatic − range, and in its profusion of themes, it express the most prominent contrasts, reaching great expressive density. The same accents can be found in Piano Sonata No. 14 in C minor, K. 457, while the Piano Sonata No. 16 in C major, K. 545 offers a dramatic respite. This “small sonata for beginners” was composed in 1788, preceding the “Jupiter” Symphony, also in C major: a beautiful gem, coming just before his monumental work. Its innocent melody revives childhood memories of the first piano lessons. Finally, the Piano Sonata No. 18 in D major, K. 576 was created as the first part in a cycle: “Six easy piano sonatas for Princess Friederike”. Composed in 1789, and in fact considered to be of great difficulty, it was Mozart’s last sonata. Anton Walter, the piano maker, started making a name for himself in Vienna in 1778. Like most inventors, he never stopped experimenting: while other workshops produced pianos at scale, Walter kept looking for “his ideal”; each instrument differed from the previous one in numerous details and ever-bolder additions. In total, he built around seven hundred instruments; here, Emelyanychev plays on a copy made by Paul McNulty, a great specialist of fortepianos and ancient pianos, with experience in manufacturing close to two hundred copies of instruments from Stein, Walter, Hofman, Graf and Pleyel. © SM/Qobuz
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Classical - Released December 3, 2017 | Aeolus

Hi-Res Booklet Distinctions 5 de Diapason
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Symphonic Music - Released November 10, 2017 | Alpha

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Haydn2032, the ambitious project of recording the complete symphonies of Haydn, has been placed from the start under the artistic direction of Giovanni Antonini, with two ensembles, Il Giardino Armonico, which made the first four volumes, and the Kammerochester Basel, to which this fifth volume and the next two are assigned. Another characteristic of the edition is that each time Haydn is set in perspective with another composer; here it is Joseph Martin Kraus (1756-92): ‘Kraus was the first man of genius that I met. Why did he have to die? It is an irreparable loss for our art. The Symphony in C minor he wrote in Vienna specially for me is a work which will be considered a masterpiece in every century’, said Haydn in 1797. Though he long remained forgotten after his death, Kraus made an active contribution to the movement of poetic renewal called ‘Sturm und Drang’ or ‘Geniezeit’ (time of genius) because such artists as the young Goethe broke free of all tradition to follow their hearts alone. When Haydn called Kraus homme de génie, in French, he probably had this context in mind. The two composers had met in Vienna in 1783. © Alpha Classics
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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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Symphonic Music - Released September 29, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Oratorios (secular) - Released March 24, 2017 | Signum Records

Hi-Res Booklet Distinctions Gramophone Award - Gramophone Editor's Choice - 4 étoiles de Classica
The Gabrieli Consort continue their series of award-winning collaborations with the National Forum of Music, Wrocław, Poland with a new recording of Haydn’s great oratorio The Seasons. Using a new performing edition by Paul McCreesh this recording is the first to feature the large orchestral forces that Haydn originally called for, including a string section of 60, 8 horns and a choir of 70. The disc features solo performances from British singers Carolyn Sampson, Jeremy Ovenden and Andrew Foster-Williams.
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Opera Extracts - Released February 3, 2017 | BIS

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Masses, Passions, Requiems - Released December 2, 2016 | BIS

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Award - Gramophone Editor's Choice - Exceptional sound - 5 Sterne Fono Forum Klassik