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Classical - Released October 16, 2020 | La Dolce Volta

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Choc de Classica
Philippe Cassard, Anne Gastinel and David Grimal present these two Beethovenian masterpieces. The chosen approach is one of colour and generosity. On this astonishing disc we meet a Beethoven come down from his pedestal, who is human and even jovial. Where so many others offer rigidity of discourse and fussy sonorities, the three musicians illuminate these metaphysical pages with the finesse, freshness and grace of the aquarellist. © La Dolce Volta
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Classical - Released October 16, 2020 | La Dolce Volta

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Pianists Philippe Cassard and Cédric Pescia have found an original way to commemorate Beethoven’s birth by unearthing the masterful transcription of Franz Liszt’s Ninth Symphony for two pianos. The Hungarian virtuoso performed the entire corpus solo, but the Ninth (with its soloists and final chorus) suggested that it should be performed by two pianos. At his publisher’s request, he finally – and reluctantly - recorded a version just for the one piano. This new album, however, does full justice to Franz Liszt’s original idea. Beyond the difficult Finale (a real obstacle course) and the constant search for colours, pedals, tones and balance, this release of Beethoven’s masterpiece is almost like a sonic X-ray, allowing you to appreciate just how complex and modern it is.Cédric Pescia (on piano primo) and Philippe Cassard (on piano secondo) display their virtuosity through tremolos, jumps, octaves and repeated notes. They also sing in the sublime Adagio before embracing the great vocal mass of the Finale. While Schiller’s fraternal words are obviously missing from this scrupulously respectful arrangement, the message nevertheless becomes evident through the two musician’s performances. © François Hudry/Qobuz
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Classical - Released October 2, 2020 | La Dolce Volta

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Few music lovers are aware of the importance and originality of Brahms’s three piano quartets, yet the composer completely reinvented the genre. These works contain some of his most profound inspirations, demonstrating both the orchestral power of his scoring and his interiority. They probably provided fertile ground for his ‘symphonic’ imagination, judging by the uncommon force and creative power with which it is expressed throughout these three scores. The members of the Quatuor Hermès and Geoffroy Couteau have completely grasped the nature of this music, and serve it with the requisite authority and tenderness in an outstandingly committed interpretation. © La Dolce Volta
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Classical - Released October 2, 2020 | La Dolce Volta

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The two Sonatas for cello and piano constitute works of great significance in Brahms’s output. Powerfully lyrical, a realm of pure interiority, they provide a glimpse of his youthful period as well as his high maturity. These summits of chamber music, with their protean humanity, call for complementarity and osmosis on the part of their interpreters. Raphaël Perraud and Geoffroy Couteau establish a skilfully matured balance. Gentleness and impetuosity, melancholy and frenzy, meditation and elation are combined in inflections of eloquent spontaneity. The fantastical aspect of this epic combat between cello and piano never ceases to gain in profundity and lyricism in the course of their performances. © La Dolce Volta
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Classical - Released September 25, 2020 | La Dolce Volta

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According to Philippe Bianconi, Claude Debussy’s twelve Études are more compositional studies than studies and represent the culmination and pinnacle of his artistry. The French pianist has long shied away from the extreme difficulty in executing these pieces, but with this latest offering he completes his recordings of these piano works by Debussy. In addition to this most beautiful interpretation of the Études, Philippe Bianconi has chosen to include some contemporary pieces so as to give a stylistic coherence to his project presenting a late Debussy, wearied by war, pessimism and cancer which ultimately led to his death at the age of 56. Debussy’s faithful friend, André Caplet orchestrated several of his works and realised a pianistic version for orchestra including these extracts of the Martyre de Saint-Sébastien composed for the dancer Ida Rubinstein on a text by Gabriele d’Annunzio. The piano arrangement still reinforces the austerity found within the original work and includes the passages Debussy ignored in his symphonic fragments. Written in homage to Chopin who Debussy revered, the Études and their complex harmonies open the door to a music of the future. Philippe Bianconi’s light touch is marvellous in the same way as his work on textures and the difficult polyphony in the striking miniatures. Such technique enables him to brave every nuance and endlessly vary colour and atmosphere. © François Hudry/Qobuz
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Classical - Released April 24, 2020 | La Dolce Volta

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At just 25 years of age, pianist Théo Fouchenneret boldly presents a Beethoven programme of extreme variety with the "Waldstein" Sonata, No. 21, which, with its massive textures and dynamic contrasts, seems to want to rival the sound of the orchestra, whereas No. 29, "Hammerklavier", is marked by its savage onslaughts. In these works which pianists generally tackle very late in their career, Théo Fouchenneret displays astonishing authority. The power of his playing, full-toned and intense, invites us into a genuine, marvellously expressive interpretation with an astonishing range of timbres. © La Dolce Volta
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Classical - Released April 17, 2020 | La Dolce Volta

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Three large-scale works for viola and orchestra feature on the new recording by violist Adrien La Marca with the Liège Royal Philharmonic. Musically, a programme must tell a story: here the viola becomes the central hero of each work, in an almost cinematographic adventure. A hero who roams from the heart of Russian ballet music with Prokofiev’s Romeo and Juliet, through the lyricism of interwar English music with Walton’s Viola Concerto, to music of today by the Belgian composer Gwenaël Mario Grisi, whose On the Reel is literally ‘scripted’, written directly from analysis of film scenarios. Epic sweep, passions, contrasts . . . Everything you might expect from a great adventure movie is there in this music. Moments of powerful lyricism, love and tenderness, inner struggles, combats or doubts. © La Dolce Volta
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Classical - Released March 27, 2020 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Classical - Released March 10, 2020 | La Dolce Volta

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Medtner, Rachmaninoff and Scriabin. Three prodigious personalities of Slavonic culture whose works followed very different paths. Nevertheless, from the very first bars of the scores recorded here, there is no doubt that this is Russian music . . . After attracting attention as one of the finalists at the 2015 Chopin Competition, Dmitry Shishkin took First Prize at the 2018 Geneva Competition, then Second Prize at the Tchaikovsky Competition in 2019. This twenty-seven-year-old Russian comes from the Urals, like Nureyev, whose elegance and inner fire he shares. © La Dolce Volta
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Classical - Released January 17, 2020 | La Dolce Volta

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Choc de Classica
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Classical - Released November 29, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Choc de Classica
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Duets - Released October 25, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released September 27, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason
Michel Dalberto has had a unique career journey. An expert of French repertoire, exemplified with his tetralogy published on Aparté (Debussy, Fauré, Franck and Ravel), he also recorded the somewhat neglected first sonatas by Beethoven in a compilation published by Erato in the 1980s. However, he thereafter dedicated himself mainly to Schubert, saving the Appassionata, Moonlight and Opus 111 for later. This album signals the end of the wait for these iconic pieces in the year of an important anniversary for Beethoven, presenting them to the listener in chronological order. From the Pathétique to Sonata n°32, op. 111, Michel Dalberto seems determined to portray Beethoven as a classical and not a pre-romantic composer, as the musical history books are often known to do. There is a real emphasis on the thematic and motivic logic of the music here. Thus the deliberately slow tempo of the Allegretto of the Sonata n°14, op. 27 manages to deconstruct the score without totally stripping it of its substance. It’s followed by the Presto Agitato, a delirious sprint with devilish articulation which is divinely transparent despite the apprehension in the highs and lows. The formidable changes in register in Beethoven’s opus are interwoven seamlessly thanks to the narrative genius of the performer (Schubert’s influence is not too far away). Indeed, Opus 111’s first movement is remarkable. The Steinway is expectedly robust, cutting even, as the pianist creates moments of orchestral sonority and weightless playing. A result which leaves the listener awestruck. © Elsa Siffert/Qobuz
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Classical - Released September 20, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason
For his second album for the French label La Dolce Volta, following the magnificent “Album d'un voyageur” where he led us on a magnificent journey through Europe, travelling from Spain to Poland and exploring everything from the popular rhythms of Paul Ladmirault (Variations sur des airs de biniou) to Szymanowski’s Danses, here Florian Noack returns to Russian music - something which he has loved since his adolescence. Prokofiev has been haunting him since that age, when he watched the television broadcasts of the Queen Elisabeth Competition in 2003 and saw Prokofiev’s Second Concerto being performed by Severin von Eckardstein (who would later go on to win First Prize), marking a historic date in the history of the competition. With this new recording, Florian Noack composes a programme that alternates between relatively rare works (Tales of an old grandmother, Quatre Études, Op. 2) and more famous scores, in this case two absolute masterpieces of Prokofiev’s piano work. Composed between 1915 and 1917, the Visions fugitives form a catalogue of twenty short piano pieces inspired by the symbolist poet Constantin Balmont. The Belgian pianist’s interpretation is more tender and dreamy rather than sarcastic (Raekallio, Ondine 1989), worried (Gourari, ECM 2014, with her melancholic poignancy) or fierce (Mustonen, Decca). He concludes his recital with Piano Sonata No. 6, Op. 82, the first of the “war sonatas”, giving a performance with moderate but nevertheless firm contrasts. © Pierre- Yves Lascar/Qobuz
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Classical - Released March 22, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
Bach to the Future gained considerable publicity from being the last recording made on the 1868 Cavaillé-Coll organ at Notre-Dame cathedral before the devastating fire of 2019. It might just as well, however, have become renowned if there had been no fire: it is one of the most exciting organ releases of recent years. Organist Olivier Latry became titulaire des grands orgues at Notre-Dame in 1985, when he was just 23, but he has lost none of his youthful brashness, indicated perhaps by the album's punning title. Latry explains his ideas in an interesting an readable accompanying note. More than in any other genre of classical music, a performance of an organ work is an interpretation by the player, who shapes its basic textures. Latry takes this idea and develops it, using stops that did not exist in Bach's time. Furthermore, he has familiarized himself with arrangements of Bach's organ works made for other media, including Leopold Stokowski's crowd-pleasing orchestral version of the Toccata and fugue in D minor, BWV 565, and Liszt's version of the Fantasy and Fugue, BWV 542 (presented here as two separate tracks, for Latry is unconvinced that they were meant as a unit). Latry incorporates sonorities of these into his organ performances; sample the blazing Toccata and fugue, a real thrill that, like everything else on the album, is recorded to the hilt. The result is an organ album of almost unprecedented textural breadth and brilliance. Latry has other unusual ideas, such as the organ performance of the six-part ricercar from the Musical Offering, BWV 1079, at the beginning, plunging the listener into a murky world of complexity, and the narrative treatment of the Passacaglia and fugue in C minor, BWV 582. Yet more is there for the listener to discover, all of it part of the story of the great Notre-Dame organ that will, thankfully, be ongoing. © TiVo
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Classical - Released March 15, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
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Solo Piano - Released February 22, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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Children - Released November 22, 2018 | La Dolce Volta

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Solo Piano - Released October 26, 2018 | La Dolce Volta

Hi-Res Booklet Distinctions 5 étoiles de Classica
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Cello Concertos - Released October 5, 2018 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason