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Secular Vocal Music - Released March 20, 2020 | Alpha

Hi-Res Booklet Distinctions Choc de Classica
The starting point for Barbara Hannigan’s third recording for Alpha is a work by Gérard Grisey (1946-98) that is particularly close to her heart. Grisey wrote: ‘I conceived the Quatre Chants pour franchir le seuil (Four songs for crossing the threshold) as a musical meditation on death in four parts: the death of the angel, the death of civilisation, the death of the voice and the death of humanity... The texts chosen belong to four civilisations (Christian, Egyptian, Greek, Mesopotamian) and have in common a fragmentary discourse on the inevitability of death’. Luigi Nono (1924-90) was a politically engaged composer. His stunning monody Djamila Boupacha, a heart-rending cry for solo soprano, pays tribute to a freedom fighter tortured by French paratroopers during the Algerian war; Picasso also portrayed her in charcoal. Once again Barbara Hannigan both sings and directs this pair of twentieth-century works with her friends of the Ludwig Orchestra. She has chosen to couple them with a Classical symphony by the master of the genre, Joseph Haydn, which also deals with the theme of the Passion. Her interpretation is extremely intense and highly personal. © Alpha Classics
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Symphonic Music - Released March 13, 2020 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - 5 étoiles de Classica
Erkki-Sven Tüür, born in Estonia in 1959, writes music that is characterised by intense energetic transformation. The intuitive and rational approach is synthesised into a complete organic system. He is the composer of nine symphonies, ten concertos, numerous chamber works and an opera. Dedicated to his compatriot Paavo Järvi and composed to mark the centenary of the Estonian Republic in 2018, Tüür’s Ninth Symphony is entitled "Mythos". According to the composer, this refers to the myths that arise about nations and how they have acquired their independence, and also deals with the long history of the Finno-Ugric peoples. Paavo Järvi and his Estonian Festival Orchestra have made the world premiere recording of this work, along with The Incantation of Tempest (2004), dedicated to the Estonian composer Veljo Tormis, and Sow the Wind, composed in 2015, inspired by climatic ‘gusts of wind’ and ‘whirlwinds’. © Alpha Classics
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Chamber Music - Released January 24, 2020 | B Records

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released January 17, 2020 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason
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Secular Vocal Music - Released January 3, 2020 | CPO

Hi-Res Booklet Distinctions 5 de Diapason
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Trios - Released November 29, 2019 | Paraty

Hi-Res Booklet Distinctions 5 de Diapason
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Chamber Music - Released November 1, 2019 | L'empreinte Digitale

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released October 25, 2019 | Arcana

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Chamber Music - Released October 18, 2019 | Larghetto

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Vladimir Cosma has already enriched the mandolin concertante repertoire with the Concerto Mediterraneo for mandolin and orchestra, the Fantaisie concertante for mandolin and strings, the Suite populaire for mandolin and accordeon, the Triptyque for plectrum quartet and the 16 Duets for mandolin and guitar, composed between 2015 and 2018. The 24 Caprices de concert are written for mandolin solo, presenting a unique collection, equally virtuoso and expressive. Dedicated, as are the works listed above, to Vincent Beer-Demander, this composition written in 2018 is conceived as a reference and homage to Niccolò Paganini’s 24 Caprices for solo violin. The composer self-imposed, in effect, a double objective, so that each caprice balances and sustains the other: on the one side exploring all the technical possibilities of the mandolin, in style of the most classical, including guitarist or percussive skill, and on the other to give the virtuosity not only as a spectacular demonstration, but as the means to express diverse poetic moods. Variety of atmosphere and themes, virtuosity of writing, especially as requested by the performer; modest melancholy, lightness of touch, roughness tempered by an inclination towards lyricism, natural melodic effusion, these are the degrees of strength in this cycle, unique in its genre, destined to become a touchstone in the repertoire for this instrument. (Lionel Pons, musicologist)
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Classical - Released October 18, 2019 | Wergo

Distinctions 5 de Diapason
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Duets - Released October 15, 2019 | Disques Triton

Distinctions 5 de Diapason
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Mélodies - Released October 4, 2019 | BIS

Hi-Res Booklet Distinctions 5 de Diapason
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Symphonic Music - Released September 27, 2019 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama
Paavo Järvi inaugurates his new contract as conductor of the Tonhalle Orchestra in Zurich with a programme devoted to Messiaen. Alpha Classics will accompany this extremely promising combination: ‘I’ve always admired French music very much. (...) I think Messiaen is the most original voice, someone absolutely unique. You need only listen for three seconds to a work by Messiaen to be sure that it is by him. His style is so clear, so unmistakable. In his two early works Les Offrandes oubliées and Le Tombeau resplendissant, religion and mysticism play an important role. If you listen carefully, you will notice how a harmony is continually transformed, so that you can never predict what sound will come next. But Messiaen’s harmonic language is not experimental: it produces an inevitable meaning, and you get the feeling that the chord sequence can be that way and no other. Music is a language of its own; music begins where words leave off.’ (Excerpt from an interview with Paavo Järvi) © Alpha Classics
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Classical - Released September 27, 2019 | Channel Classics Records

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Classical - Released September 13, 2019 | Decca Music Group Ltd.

Hi-Res Distinctions 5 de Diapason
Over the past three years, the Montreal Symphony Orchestra (a huge contributor to the Decca label since Charles Dutoit’s lead from 1977-2002) and Kent Nagano have been making an exciting series of recordings, focusing on rare works, namely Honegger-Ibert’s L’Aiglon and Leonard Bernstein’s A Quiet Place. Today, they continue their recording journey on American terrain, with a retrospective entirely dedicated to John Adams. They had left for unknown territory with Bernstein and now they return to town to celebrate one of the popes of minimalism. While Harmonielehre, a vast triptych composed in 1985 (a humble tribute to the early 20th century with perceptible influences from Wagner, Schönberg, Sibelius and Ravel) and the exciting fanfare Short Ride in a Fast Machine composed for orchestra in 1986 have been superbly championed by Sir Simon Rattle (EMI, Birmingham, 1993) as well as Michael Tilson Thomas (San Francisco, 2010-2011), few have recorded Common Tones in Simple Time (the composer’s first work for a large orchestra written in 1979) since Edo de Waart’s recording for Nonesuch in November 1986 at Davies Symphony Hall. The piece recalls Stravinsky’s Petrushka and Kent Nagano’s fluid and gentle touch is perfectly suited to this absolutely fascinating score. Throughout the other works in the programme the American conductor is consistent with his own rather “pointillist” style. In fact, Adams is almost like a modern transcription of Seurat’s paintings. This great clarity in the harmonic superimpositions also reveals the clear influence of Berg and Webern in The Anfortas Wound and allows for new balances in the incipit of the final part of Harmonielehre (Meister Eckhardt and Quackie), one of John Adams’ most striking scores, especially since the tempos and rhythms remain measured here (unlike Michael Tilson Thomas’s interpretation), giving a stirring new version of an unmissable major work. However, the greatest highlight of this anthology is still Common Tones in Simple Time, which almost sounds like a sonic representation of Van Gogh’s Starry Night. © Pierre-Yves Lascar/Qobuz
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Concertos - Released September 13, 2019 | Cypres

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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Concertos - Released September 13, 2019 | HORTUS

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“ These two concertos were conceived and written a mere 5 years from one other, and are performed here by two exceptional musicians who are also my friends. Their orchestral con­gurations are quite similar. Bringing them together on a record struck me not only as a natural initiative but also a highly desirable one, akin to the discovery of territo-ries at once familiar and faraway. ” Gilbert Amy
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Sacred Vocal Music - Released September 6, 2019 | BIS

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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Duets - Released September 6, 2019 | Delos

Hi-Res Booklet Distinctions Diapason d'or
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Classical - Released August 30, 2019 | UMC - Decca Gold

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Composer Julia Wolfe builds large structures out of propulsive musical materials that may often take on a sinister tinge. Her works are tremendous crowd-pleasers even as they take up often grim subject matter. Fire in My Mouth, an hour-long oratorio, is perhaps her most epic work yet. For two women's choirs and large orchestra, including a pair of scissors, the work involves a musical depiction of the Triangle Shirtwaist Factory fire of March 25, 1911, in which 146 workers, mostly young immigrant women, died after a fire broke out, and they found the building's doors locked. The fire itself, gripping indeed, comes in the final fourth movement, and the work is tightly constructed leading up to that terrifying moment. The first three movements mix the hopeful attitudes of the women with the maw of the industrial hell that awaits them. Wolfe's basic pulsing material is inflected in different ways as the music proceeds. The second movement, with a long percussion opening, represents the factory where the women would die, while in the third movement, they alternate between hopes of assimilation ("I want to talk like an American") and protest. It's an extraordinarily powerful work that will receive many future hearings, perhaps in observances of American labor history. Jaap van Zweden and the New York Philharmonic, who commissioned the work, bring urgency to these live performances, and the choirs -- Philadelphia's The Crossing, and especially remarkably the Young People's Chorus of New York City -- have not a trace of rote drill in this powerful material. Highly recommended, and here's hoping the work comes to a symphony hall near you. © TiVo