Albums

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Classical - To be released February 15, 2019 | harmonia mundi

Hi-Res Booklet
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Symphonic Music - To be released February 8, 2019 | harmonia mundi

Hi-Res Booklet
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Classical - To be released February 8, 2019 | harmonia mundi

Hi-Res Booklet
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Classical - To be released February 8, 2019 | harmonia mundi

Hi-Res Booklet
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Classical - To be released February 1, 2019 | harmonia mundi

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Classical - To be released January 25, 2019 | harmonia mundi

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Classical - To be released January 18, 2019 | harmonia mundi

Hi-Res Booklet
A new aesthetic calls for new forms: such is the challenge the composer set for himself in the two works presented here. In Les Nuits d’été, Berlioz pioneered, well before Mahler and Ravel, a song cycle for voice and orchestra. In Harold in Italy, scored for large orchestra and solo viola, he experimented with the symphonic genre. These period-instrument performances by Les Siècles, led by François-Xavier Roth, with violist Tabea Zimmermann, also feature Stéphane Degout in the vocal cycle, heard here in the composer’s own version for baritone. File under: out of the ordinary. © harmonia mundi
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Classical - To be released January 18, 2019 | harmonia mundi

Hi-Res Booklet
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Classical - Released January 11, 2019 | harmonia mundi

Hi-Res Booklet
The regime of Queen Elizabeth I dealt harshly with supporters of the old Catholic religion. Torn between obedience and conscience, some of England’s most talented musicians – Philips, Dering and Dowland – chose a life of exile abroad. Others chose to remain in spiritual isolation in England, comparing themselves to the exiled Israelites in Babylon. Amongst them were Robert White, whose five-part Lamentations are one of the glories of English music of any age, and William Byrd, whose anguished Catholic music is referenced in Shakespeare’s enigmatic poem The Phoenix and the Turtle, vividly set by Huw Watkins especially for stile antico. © harmonia mundi
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Classical - Released January 11, 2019 | harmonia mundi

Hi-Res Booklet
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Symphonic Music - Released December 7, 2018 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Editor's Choice
The originality of this recording (which presents works that are, in fact, rather common) comes from the orchestra Les Siècles playing on periodic instruments, in this case from the period in which Debussy wrote these masterpieces. This is particularly relevant for woodwinds and brass, whose mechanisms and sounds around 1900 were very different - more incisive perhaps, and undoubtedly more differentiated - which for music like Debussy's offers a real plus in the orchestral balance. Moreover, the number of strings remains reasonable, this way the woodwind is never swallowed up as it often is with large international orchestras. The listener will be able to hear this music as Debussy heard it, or at least how he would have liked to have heard it because in his time orchestras and conductors did not always have a clear understanding of his style or the infinite colours on his palette. © SM/Qobuz
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Classical - Released November 30, 2018 | harmonia mundi

Hi-Res Booklet
What an excellent idea; to introduce an almost unpublished work by Messiaen through Debussy's Twelve Studies (1915). Here, Roger Muraro, who worked with Messiaen and Yvonne Loriod for many years, offers us an analytical reading of Debussy, which is perfectly suited to this late ensemble by Debussy. Messiaen proposes his restitution of a work that remained unfinished; Fauvette de l'Hérault, whose original format was to be a piano concerto, commissioned in 1962 for the centenary of Debussy's birth – we’ve come full circle - and remained as planned. Messiaen recycled some of the materials into his Sept Haïkaï, but the rest of the score was considered lost until the piano part resurfaced a few years ago. Muraro reorganizes, assembles and reconstructs a coherence entirely in the spirit of Messiaen, specifying of course that each note is indeed Messiaen without subtraction or addition: he has confined himself to the immense work of architecture. This is a kind of concerto for solo piano - very convincing. © SM/Qobuz
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Classical - Released November 30, 2018 | harmonia mundi

Hi-Res Booklet
On the dawn of his fortieth birthday, the Spanish pianist Javier Perianes should be more than proud of his dazzling career. Among the places that regularly welcome him we find Carnegie Hall, the Berliner Philharmoniker, the Philharmonie de Paris, Gewandhaus in Leipzig and La Roque d'Anthéron. Barenboim and Larrocha were his masters. He is particularly fond of the great French repertoire of Debussy and Ravel, though he never focuses solely on them - his previous recordings have taken him to Beethoven, Mompou, Schubert or Granados. Here, he remains in the French world with Debussy's Book I from Preludes and his three Estampes, the composer’s piano masterpiece, which Perianes distils with immense instrumental colour, breathing, contrasts and a magnificent violence that counterbalances a crystal clearness at every moment, as requested by the score. © SM/Qobuz
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Classical - Released November 23, 2018 | harmonia mundi

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Classical - Released November 23, 2018 | harmonia mundi

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Classical - Released November 23, 2018 | harmonia mundi

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Classical - Released November 23, 2018 | harmonia mundi

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Classical - Released November 23, 2018 | harmonia mundi

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Classical - Released November 23, 2018 | harmonia mundi

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Classical - Released November 16, 2018 | harmonia mundi

Hi-Res Booklet

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