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Chamber Music - Released January 1, 1992 | Timpani

Distinctions 5 de Diapason - 10 de Classica-Répertoire - Grand Prix de l'Académie Charles Cros - Le Choix de France Musique

Classical - Released June 10, 2015 | INA Mémoire vive

Distinctions 5 de Diapason - Choc du Monde de la Musique - Recommandé par Répertoire - Recommandé par Classica

Chamber Music - Released January 1, 2008 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles du Monde de la Musique - Hi-Res Audio
The two sonatas for cello and piano along with the D minor Piano Trio were among the last works that Fauré was to complete before his death in 1924 at the ripe old age of 79. Despite the many dire circumstances that filled the latter years of Fauré's life, and in light of his choice to score each of these pieces in dark, minor keys, all three compositions have many moments of complete joy. The two cello sonatas are performed by cellist Christian Poltéra and pianist Kathryn Stott. Both artists have an impeccable sense of line and flow and are able to spin out the long, wandering phrases Fauré lays down. The ensemble between cello and piano is as if a single instrument were playing, and Poltéra's intonation is gratifyingly precise. The cello's tone, however, is a bit on the thin side, and it seems as if the piano has to hold back in forte passages to avoid trouncing it. Violinist Priya Mitchell joins the duo for the performance of the D minor Piano Trio. Mitchell is able to match nearly all of the qualities of the other two musicians. The introduction of the violin, however, also sees the beginning of intonation difficulties between the two string instruments. Fauré extensively uses unisons and octaves throughout the piece, and even the slightest variation in pitch is at once noticeable. In this recording, it is noticed far too often. © TiVo

Chamber Music - Released January 1, 2004 | Accent

Distinctions Diapason d'or - Choc du Monde de la Musique - 4 étoiles du Monde de la Musique

Classical - Released January 1, 2008 | Chandos

Booklet Distinctions 4 étoiles du Monde de la Musique - 9 de Répertoire - Diapason découverte
John Foulds' A World Requiem was the musical event of mid-'20s England. The work was premiered by the composer leading 1,250 singers and players assembled in the Albert Hall on Armistice Night, November 11, 1923, under the eyes of the Prince of Wales and the auspices of the British Legion and proved a tremendous critical and popular success. Its fusion of symphonic song cycle and Requiem Mass and its message of hope and transcendence resonated with the conscious of the Empire after the horrors of the Great War, and the work was repeated on each subsequent Armistice Night through 1926. Due to a change of leadership in the Legion and the composer's outspoken socialism, however, A World Requiem was not performed on Armistice Night 1927 nor on any other night until this performance -- on Armistice Night, November 11, 2007. Recorded in stupendous super audio digital sound by Chandos and featuring Leon Botstein leading the BBC Symphony Orchestra and Chorus, the Philharmonia Chorus, the Crouch Festival Chorus, and the Trinity Boys Choir, plus soprano Jeanne-Michèle Charbonnet, mezzo Catherine Wyn-Rogers, tenor Stuart Skelton, and baritone Gerald Finley, it is an awe-inspiring performance. Though the work is a virtuoso piece of writing with no living performance tradition behind it, the soloists, choruses, and orchestra handle the work with total assurance and unwavering dedication. A big part of the credit should go to Botstein, who seems to know the work intimately and love it unreservedly. There's never a second when one doubts the authenticity and integrity of the performance, just as there is never a moment when one questions the emotional depths and spiritual aspirations of the work. As for the work, it would not be too much to say that John Foulds' A World Requiem is a masterpiece -- a long-lost masterpiece, but a masterpiece nevertheless. With the aid of his wife Maude MacCarthy in arranging the diverse texts, Foulds' created a work rivaling in magnificence of sound and height of ambition such English fin de siècle choral-orchestral masterpieces as A Mass of Life and Elgar's The Dream of Gerontius. The work's melodies are passionately expressive, its harmonies splendidly sonorous, its scoring richly subtle, its forms strong but sensual, and its drama personal but universal. If there was ever a work both of its time and yet timeless, it is A World Requiem. © TiVo

Symphonic Music - Released June 10, 2015 | INA Mémoire vive

Booklet Distinctions 5 de Diapason - 4 étoiles du Monde de la Musique - Diamant d'Opéra
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Sacred Oratorios - Released April 28, 2009 | Chandos

Booklet Distinctions Diapason découverte - Révérence de l'Avant-Scène Opéra
England was really slow to embrace operas that had singing from start to finish; some attendees were mostly interested in seeing the plays and not too crazy about the opera part. In order to help stimulate acceptance of a theatrical form that was all the rage in continental Europe, a competition was held in 1700 for the best opera on the subject of The Judgment of Paris, with a libretto by no less than the great playwright who coined the very term "Music has charms to soothe a savage breast" in his play The Mourning Bride, William Congreve. Four composers responded to the challenge -- Daniel Purcell, Gottfried Finger, John Weldon, and John Eccles -- whose entry this Chandos recording, Eccles: The Judgment of Paris, represents. It is given by the Early Opera Company under Christian Curnyn and features a cast led by baritone Roderick Williams. Eccles, then serving as the King's Master of Musick, did not win the big prize, Weldon's sing-songy effort did, which is more a referendum on the taste of London theatergoers in 1700 rather than the relative quality of the music in these operas. Although the Finger setting has not survived, the other three were revived under Anthony Rooley in 2001 and Eccles' The Judgment of Paris was adjudged the winner. There are many reasons why it is the obvious choice; it is a dramatically very clear, harmonically bewitching, and melodious opera. Eccles anticipated the expectations of his audience in producing something relatively direct but did not dumb down his style, which had been refined during a time of close association with Henry Purcell, dead five years by the time the competition was held. The Chandos recording, which is the first complete one of Eccles' work, is superb, fast moving, eminently listenable, and makes for a great tool for the English-speaking novice to get a grip on the appeal of Baroque opera. It is such a good recording that one is tempted to say it has more value than Chandos' entire "Opera in English" series combined, except that would be an unfair slam against what was a worthwhile endeavor. Nevertheless, Chandos' Eccles: The Judgment of Paris enters the field in its own category in regard to its importance to the operatic catalog overall and by virtue of its exceptionally fine recording. To sweeten the deal, three of Eccles' "mad songs" from other works are added to the end of the disc, including his iconic, almost "punk" song "I Burn, My Brain Consumes to Ashes" from The Comical History of Don Quixote (1694). © TiVo

Chamber Music - Released January 1, 2003 | Accent

Distinctions 5 de Diapason - Recommandé par Répertoire

Jazz - Released June 15, 2015 | INA Mémoire vive

Booklet Distinctions Choc de Classica - Elu par Citizen Jazz
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Chamber Music - Released January 1, 2000 | Accent

Distinctions Diapason d'or - 10 de Classica-Répertoire

Symphonic Music - Released March 31, 2009 | Chandos

Hi-Res Booklet Distinctions Diapason d'or - Hi-Res Audio

Jazz - Released June 10, 2015 | INA Mémoire vive

Booklet Distinctions 4 étoiles Jazzman - Choc de Classica

Full Operas - Released October 2, 2008 | Phoenix Edition

Distinctions 9 de Classica-Répertoire - Exceptional Sound Recording
Franz Schubert never achieved the success as a composer for the stage that the aspired to, and even since his genius has been fully recognized, his dramatic works have not found their way into the repertoire. This is due not so much to the quality of the music, which is often very high, but to the fact that Schubert devoted himself to a form, thesingspiel, which wasn't quite an opera, but a play with interpolated musical numbers that fell quickly out of style and has never made a popular comeback. Several Mozart singspiele, particularly Die Entführung aus dem Serail and Die Zauberflöte, have remained in the repertoire due to the large percentage of musical numbers they contain, their dramatic appeal, and their extraordinary music, criteria that Schubert's work doesn't meet. It's good, though, to have excellent recordings such as this one, to allow listeners to become familiar with the composer's neglected dramatic work. The music is very much in the Classical style, with a strong Mozartian flavor. Schubert's contemporaries found this music too serious for the light subject matter, but to modern ears it seems delightfully elegant, and often playful. The overtures to these short works are particularly attractive, and certainly merit consideration for inclusion in orchestral concerts. Schubert's vocal writing is, as would be expected, masterful and gratifying. The pieces receive crisp, spirited performances by Christoph Spering, conducting Chorus Musicus Köln and Das Neue Orchester, who sing and play with the care and energy to present these pieces in the best possible light. The vocal soloists are consistently fine. Soprano Aga Mikolaj and tenor Andreas Karasiak are especially persuasive, and Mikolaj's silvery tone and her security in the stratospheric reaches of her role are impressive. Phoenix's sound is clean, bright, and vibrant. The CD should be of strong interest to any Schubert fan and anyone intrigued by operatic literature from off the beaten path. © TiVo

Symphonic Music - Released May 27, 2008 | Naxos

Booklet Distinctions 5 de Diapason - 4 étoiles du Monde de la Musique

French Music - Released June 25, 2012 | Fremeaux Heritage

Distinctions The Qobuz Standard

Film Soundtracks - Released August 8, 1989 | Warner Records

Distinctions The Qobuz Ideal Discography
Elfman uses every trick in his even then massive arsenal to create arguably one of his best scores. Nominated for an Academy Award and winning a Grammy for Best Instrumental Composition (other than Jazz), BATMAN runs through a full range of moods and ultimately triumphs as a unique action-film score. Bringing along some of his tools from BEETLEJUICE, primarily to enhance The Joker’s sinister attitude, Elfman accentuates Tim Burton’s vision of a reluctant, tragic hero defending a darkened, Gothic metropolis overrun by crime. However, it is in the romantic subplot that Elfman justly comes into his own. He tempers piano and soft violins with an underpinning sense of danger that surrounds every scene in the film. © TiVo

Cantatas (sacred) - Released February 1, 2005 | Chandos

Hi-Res Booklet Distinctions Hi-Res Audio

Classical - Released November 16, 2012 | Sony Classical

Distinctions Diapason d'or

Jazz - Released August 27, 2010 | ACT Music

Distinctions The Qobuz Standard

World - Released June 29, 2018 | Strut

Distinctions Songlines Five-star review