Albums

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Concertos - To be released April 12, 2019 | Alpha

Hi-Res Booklet
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Classical - Released March 15, 2019 | Alpha

Hi-Res Booklet
Two years after releasing her CD dedicated to Book I of J.S. Bach’s Well-Tempered Clavier, Céline Frisch now presents the second volume of this musical landmark. Bach compiled Book II in 1744, twenty-two years after Book I. It took until 1801 for both volumes to be printed: from then until the present day they have inspired countless composers. After a series of recordings with the Ensemble Zimmermann she helped to found, Céline Frisch returns to the harpsichord recital, for a programme of this, her very favourite music. Through these preludes and fugues, she reminds us that far from being technical exercises, the Well- Tempered Clavier is a work of pure pleasure and constant renewed discovery. As Robert Schumann declared: ‘You should frequently play the fugues of the great masters, particularly those of J.S. Bach. Make the Well-Tempered Clavier your daily bread.’ © Alpha Classics
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Classical - Released March 8, 2019 | Alpha

Hi-Res Booklet
Following his recording of J. S. Bach’s solo cantatas for alto BWV 35 and 170 (issued in 2009), countertenor Damien Guillon has continued his work of research and interpretation, devoting a second album to the Cantata BWV 169 for alto solo and to the famous BWV 82 Ich habe genug ; though better known in its 1727 version for bass, from 1735 onwards it was also performed by an alto voice. To complement this cantata programme, organist Maude Gratton performs Bach’s Prelude and Fugue BWV 543, as well as the chorales Allein Gott in der Höh sei Ehr, BWV 662, BWV 663 & BWV 664. © Alpha Classics
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Chamber Music - Released June 8, 2018 | Alpha

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Choc de Classica
This is not the place for yet another disquisition on the widespread baroque practice of transcribing works: Bach was no stranger to it himself, to say nothing of Handel, who plagiarised himself over and over; and this album gives us the Cantor transcribing the Cantor. In this instance we are looking at the Fifth Suite in C Minor for cello, which he re-wrote for the lute. Taking his lead from the composer, lutist Thomas Dunford has done the same to the First Suite for cello, and revised it for his instrument. Obviously, the music seems renewed, elucidated in many different ways: the styles, the reverberations, the harmonies, the counterpoints all develop differently, but we are still hearing original Bach: it's just that its richness is distributed differently in our ears. Dunford offers us a generous "B-side" in the form of a transcription of the Chaconne taken from the Suite for Solo Violin in D Minor, another superb exercise in reconsidering balances while respecting the letter of the music. It remains astounding what one can do with Bach, without ever betraying the spirit of his works. © SM/Qobuz
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Classical - Released March 9, 2018 | Alpha

Hi-Res Booklet
Virtuoso flautist Juliette Hurel offers us two pillars of the Cantor's work for transverse flute: the essential Suite in B Minor for flute and strings, which ends in the world-famous Badinerie, and the unique Partita (or Sonata, the editors can't quite decide) for solo transverse flute; and the no-less famous BWV 1013 of the 1720s. Around these twin pillars, Hurel weaves an intricate and varied tapestry, bringing in the Sonata for Trio BWV 1038, which gives every indication of being the work of Johann Sebastian, whereas it was in fact written by Carl Philipp Emanuel – or, at the very least, was a father-son collaboration. And finally we can hear the soprano Maïlys de Villoutreys performing the St Matthew Passion, the "Coffee Cantata", the Cantata "Ich habe genug" and the Easter Oratorio, in which the solo flute takes centre stage. By way of accompaniment we have the Les Surprises ensemble, a rather continuo string quintet and, on the keyboards (harpsichord and organ), we have Louis-Noël Bestion de Camboulas. © SM/Qobuz
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Chamber Music - Released September 1, 2017 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - Exceptional sound
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Classical - Released January 1, 2004 | Alpha

Distinctions Choc du Monde de la Musique
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Chamber Music - Released April 1, 2002 | Alpha

Booklet Distinctions Choc de Classica
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Classical - Released November 10, 2016 | Alpha

Hi-Res Booklet Distinctions 4F de Télérama
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Classical - Released October 21, 2016 | Alpha

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Classical - Released January 1, 2006 | Alpha

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Classical - Released June 17, 2016 | Alpha

Hi-Res Booklet
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Classical - Released October 30, 2015 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica
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Concertos - Released September 4, 2015 | Alpha

Booklet Distinctions Diapason d'or - 4 étoiles de Classica
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Classical - Released January 1, 2001 | Alpha

Booklet Distinctions Choc de Classica
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Classical - Released January 1, 2001 | Alpha

Booklet Distinctions Diapason d'or - Choc de Classica
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Classical - Released April 8, 2014 | Alpha

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released February 25, 2014 | Alpha

Booklet Distinctions 4 étoiles de Classica
In modern performances of J.S. Bach's Well-Tempered Clavier, the piano is heard most often, due to its ubiquity and familiarity, and it is followed in frequency by the harpsichord, particularly in renditions based on Baroque period practices. Yet the organ is a viable alternative, as Frédéric Desenclos brilliantly demonstrates in this revelatory four-CD box set from Alpha. Because the term clavier can be applied to any keyboard instrument, there's no musical reason why the WTC shouldn't be heard this way. Desenclos' controlled playing and use of appropriate registration make a compelling case for organ performance, and he shows that Bach's transparent counterpoint works as naturally here as it does in the other preludes and fugues that were specifically composed for organ. Furthermore, there are internal connections and similarities between several of the preludes and fugues and other compositions in the Clavier Übung and the Orgelbüchlein, suggesting the possibility that Bach developed some ideas in the WTC at the organ, his primary instrument. While this is speculation, there is no doubt that Desenclos does a superb job of arranging the music in the spirit of Bach's transcriptions, playing them with great clarity and confidence. Organ fans will appreciate this set the most, but others should give it a hearing to appreciate the excellent performances.
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Masses, Passions, Requiems - Released October 21, 2013 | Alpha

Booklet
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Classical - Released September 11, 2012 | Alpha

Hi-Res Booklet Distinctions 4F de Télérama - Hi-Res Audio

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