Albums

446 albums sorted by Date: from newest to oldest
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Classical - To be released February 23, 2018 | Alpha

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Concertos - To be released February 23, 2018 | Alpha

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Chamber Music - To be released February 15, 2018 | Alpha

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Symphonic Music - To be released February 9, 2018 | Alpha

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Classical - To be released January 26, 2018 | Alpha

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Classical - To be released January 26, 2018 | Alpha

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Classical - Released January 12, 2018 | Alpha

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The Järvi family is a pillar of Estonian musical life. Paavo is now director of the Pärnu Festival, held in August each year, which brings together the finest Estonian musicians, joined by the cream of European orchestras: members of the Deutsche Kammerphilharmonie, the Berliner Philharmoniker, the Orchestre de Paris etc. Paavo Järvi (recently appointed music director of one of the world’s leading formations, the Tonhalle Orchester Zürich) frequents all these instrumentalists regularly, and now works alongside them, ‘unpretentiously, in a warm, collegial manner’ for a series of highly convivial concerts on the shores of the Baltic: ‘magical and incredibly appealing’, says Die Welt. Paavo Järvi has now decided to record with this outstanding orchestra. For this first release, he has chosen Shostakovich, a key figure of the twentieth century, for both the region and the Järvi family: Paavo used to meet him as a child when the composer came to visit his father Neeme! The programme consists of Symphony no.6 and the Sinfonietta op.110b, a rare arrangement of the String Quartet no.8 by Abram Stasevich for string orchestra and timpani. This first release in 2018 will also coincide with the centenary of the independence of the Estonian Republic and a tour that will take the orchestra to several major European cities.© Alpha Classics
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Classical - Released January 12, 2018 | Alpha

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The pianist Martin Helmchen has now joined Alpha for several recordings. Acknowledged as one of the leading pianists of his generation, an eminent interpreter of the German repertoire, Helmchen will explore various periods and composers (including Messiaen!), but Beethoven will have a preponderant place in his forthcoming recording projects. Before the complete Concertos, planned for 2020, he tackles the Diabelli Variations, ‘a climax in the life of a pianist’. He sees these variations as ‘a voyage to the very heart of the infinity of human feelings and moods, by turns profound, philosophical, satirical’. He regards the cycle as a visionary work that heralds future developments in music, containing the first stirrings of twentieth-century minimalism, atonality and abstraction. This recording is the end result of a long personal association and numerous concerts. © Alpha Classics
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Vocal Music (Secular and Sacred) - Released January 12, 2018 | Alpha

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Alpha continues its collaboration with the Festival d’Aix-en-Provence and its Academy, which will celebrate its twentieth anniversary in 2018. We invite you to discover artists of great talent who take us on a trip to Auvergne, Sicily, Armenia and Azerbaijan thanks to Luciano Berio’s Folk Songs, to Andalusia with Falla’s Psyché on a poem of Georges-Jean Aubry, and to the world of Jules Renard with Ravel’s Histoires naturelles. The last-named are recorded in a version for chamber ensemble: ‘Since Ravel gave Manuel Rosenthal to make an arrangement for large orchestra which we found rather overblown, we set out to find a “chasseur d’images” (to quote the title of one of Renard’s Histoires naturelles poems) who could transcribe the work without losing its intimate, delicate aspect. . . . We hope you will be as charmed as we are by Arthur Lavandier’s work, which beautifully conveys the immensely refined timbres and nuances of Ravel’, says the oboist Clément Noël, a member of the Swiss Ensemble Labyrinth. Anna Stéphany is a true revelation, performing this programme with the technique, the sensuality and the emotional impact that earned her a huge triumph in Mozart at last summer’s Glyndebourne Festival. © Alpha Classics
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Vocal Music (Secular and Sacred) - Released December 22, 2017 | Alpha

Booklet
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Classical - Released November 17, 2017 | Alpha

Hi-Res Booklet
After several recordings on Ricercar and a first disc on Alpha, "Actus Tragicus", containing early Bach cantatas, ‘of staggering profundity, purity and beauty’ (ffff Télérama), Lionel Meunier and his ensemble Vox Luminis devote this new project to two showpieces by Handel and Bach. Of these two composers born in 1685, the first travelled to Italy in 1707 and made a powerful impression in Rome with the creation of his Dixit Dominus, while the second produced one of his finest compositional tours de force in the Magnificat of 1723/32-35. Two works from the core repertoire of the Belgian ensemble, here fielding combined vocal and instrumental forces, which is perfectly versed in the style and expression of Baroque rhetoric. © Alpha Classics
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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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Classical - Released November 10, 2017 | Alpha

Booklet
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Chamber Music - Released October 27, 2017 | Alpha

Hi-Res Booklet Distinctions Diapason d'or
A voice, a lute, a sigh. Nothing could be simpler and more immemorial. This expression of sentiments and emotions, of the intermittencies of the heart and the shadows of the soul, is of course as old as the world. Yet it was truly a reconquest of the Renaissance. With Caccini, the ‘new music’ at once found a miraculous melodist. He composed a Euridice, performed in 1602, two years after Jacopo Peri’s setting and five years before Monteverdi’s Orfeo. The Renaissance did not know opera, but long secreted that genre soon to be born. And it is brand-new opera that opens and closes this recording, through the voice of its first visionary, Claudio Monteverdi. His Lamento d’Arianna, the centrepiece of a lost work, expresses sorrow, regrets, revolt through the very music of the Italian language, here brought to white heat. The ‘new music’ spread throughout Italy: Merula in Cremona, Falconieri in Naples, and Barbara Strozzi, the most famous woman composer of the age, in Venice. The Italian soprano Roberta Mameli is a great lover of this music, which she performs with an outstanding feeling for words and drama. Luca Pianca offers her his artistry and his great experience. © Alpha Classics
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Chamber Music - Released October 27, 2017 | Alpha

Hi-Res Booklet
An exceptionally prolific and versatile composer, Telemann reached a high musical stature in Germany at a very early stage. From 1715, aware that the provincial German musical market didn’t offer any outlet for his hundreds (and soon to be thousands) of works, he took it upon himself to broadcast his chamber music by publishing it in his own publishing house in Frankfurt. He thus became an entrepreneur and businessman, in addition to being a composer and instrumentalist. Starting in 1725, he pursued and developed this side activity in Hamburg, another very important business center. One of the outcomes of this pioneering work was that it drew the attention of Parisian flautist Michel Blavet. We think that it was Blavet who invited Telemann to Paris in 1737-38, giving him access to the most influential salons and even to the famous Concert Spirituel. His Sonatas for Two Flutes without Bass or Violin or Transverse Flute (1726) might well have been the source of their relationship. But the decisive role can probably be attributed to the 6 Quartets (1730), with which Telemann tackled new grounds in the area of chamber music for four voices, uniting the very heterogeneous sonorities of the transverse flute, the violin and the viola da gamba (or the cello) in a unique and very coherent trio of soloists, accompanied by a continuous bass. Around 1750, the Parisian publisher Le Clerc sold partitions in almost every chamber music genres from Telemann, including these so sought-after quartets, of which the present recording offers examples coming from the first, second and fourth volumes. At the helm, the superb ensemble Nevermind with Anna Besson on flute, Louis Creac’h on violin, Robin Pharo on viola da gamba and Jean Rondeau on harpsichord. © SM

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