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Classical - To be released December 4, 2020 | Klarthe

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Classical - To be released December 4, 2020 | Klarthe

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Classical - Released November 27, 2020 | Klarthe

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Since 2005, the duo W has been bringing together Vincent Barras on saxophones and Vincent Thévenaz on organ, in inventive, colourful and exciting arrangements... Their repertoire goes off the beaten track, crossing history to privilege moments of emotion and expression and to exploit the possibilities of their two instruments in an innovative way. For their third album, the duo W continues their search for different sounds, but with a focus on contrasts: of eras, through centuries of musical literature; of styles, with classical, traditional, jazz or musical comedy pieces; of characters or timbres, between poignant melodies and frenzied rhythms! © Klarthe
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Classical - Released November 20, 2020 | Klarthe

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Classical - Released November 13, 2020 | Klarthe

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Opera - Released October 16, 2020 | Klarthe

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The countertenor Mathieu Salama, accompanied by the ensemble La Réjouissance, offers you this anthology of arias and duos expressing joy, melancholy, passion, pain, madness, each in turn weaving the thread of this baroque journey, with excerpts from the greatest operas of Vivaldi, Haendel, Monteverdi, as well as some poetic airs by Frescobaldi and Purcell. © Klarthe
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Classical - Released September 18, 2020 | Klarthe

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Chamber Music - Released September 4, 2020 | Klarthe

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The judiciously chosen title of this album by the Quatuor Ardeo refers to the recording’s central works. Schubert’s “Rosamunde” quartet is his thirteenth of fifteen string quartets, and the number 13 plays an important structural and symbolic role in Crumb’s Black Angels, the piece which acts as the inspirational focus of this recording. ©Klarthe
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Classical - Released May 29, 2020 | Klarthe

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For his first monographic album, Johan Farjot offers a programme of short pieces, for one to eight instruments (New York City, for double saxophone quartet). In this mix of concision and magic, we find the essence of the composer's interests. Perpetuum mobile, ostinatos, imitations, questions and quick responses: for the most part, the pieces on this album reveal his predilection for a systematic approach. But although he likes symmetry, he likes it just slightly abridged. If he repeats something, it is in order to introduce modifications, however infinitesimal. His clocks are broken, his obsessions are subverted from the interior by delays. If he explores non-modulatory climates, he spices them up with acidic notes. And more generally, if he uses stylistic vocabulary which has already been used by his predecessors, his way of combining it is never conventional. A composer shaped by many influences, he is original in his way of producing an american lifeblood and serving it in a typically french melting pot. When he composes for a group, Farjot writes with a deep knowledge. Not against, but always for the instrument. Hence his predilection for open strings, which enhances string instruments and gives them an ancestral colour; hence also, his tendency to search for digital comfort and orgnanological idiosyncrasy. In all of his pieces, instrumental constraints are an added source of expression, stimulating the imagination. One has the impression that he has adopted as his own this phrase attributed to Oulipo: "liberated constraint". © Karol Beffa/Klarthe
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Chamber Music - Released May 22, 2020 | Klarthe

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Classical - Released May 15, 2020 | Klarthe

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Silas Bassa is surprising today with "Silas", his most personal album, taking its source in the power released in his two previous albums. Composer and performer of each of the ten pieces presented in this album, the artist reveals a fascinating universe, both very current and resolutely timeless, meditative and fiery. From sensual reverie to combative rage, through inner dialogue, dance, drama or fantasy, Silas Bassa fires all his emotions and never ceases to open poetic spaces. © Klarthe
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Classical - Released May 15, 2020 | Klarthe

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Classical - Released May 8, 2020 | Klarthe

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This first recording devoted to Franck Villard, composer and conductor born in 1966, brings together works for choir and organ in a programme built in the shape of an arch around the choral cycle Ténèbres du Jeudi Saint. With his stripped-down style, Franck Villard is close to the spirit of Tomás Luis de Victoria, but also to that of Francis Poulenc. In a contemporary language that does not shy away from making reference to the past, he takes up the liturgical alternation between monody and polyphony: Jeremiah's Lamentations - or Lessons - are in the prolongation of Gregorian cantillation, while the Responses adopt a strict four-part writing style. The interpretation of these Ténèbres du Jeudi Saint has been the subject of a long process of maturation between the Ensemble Vocal Cori Spezzati, its conductor Olivier Opdebeeck and Franck Villard himself, who was also the artistic director of the recording. Framing this choral cycle, two pieces for solo organ performed by Denis Comtet at the Saint-François-Xavier organ loft in Paris reveal another facet of the composer's language, which places great emphasis on instrumental virtuosity. © Klarthe
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Classical - Released April 24, 2020 | Klarthe

Hi-Res Booklet Distinctions 4F de Télérama
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Classical - Released April 10, 2020 | Klarthe

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Classical - Released March 6, 2020 | Klarthe

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Classical - Released February 28, 2020 | Klarthe

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13 songs from Schubert's masterpiece are lifted into Noémi Waysfeld and Guillaume de Chassy's dreamlike world.Recorded September 2019, Studio La Buissonne, Pernes-les-Fontaines (France)
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Classical - Released February 7, 2020 | Klarthe

Hi-Res Booklet Distinctions 5 de Diapason
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Duets - Released January 31, 2020 | Klarthe

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Classical - Released January 17, 2020 | Klarthe

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