Albums

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Classical - To be released November 30, 2018 | Mirare

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Classical - To be released November 30, 2018 | Mirare

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Classical - Released November 9, 2018 | Mirare

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Classical - Released October 19, 2018 | Mirare

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Solo Piano - Released October 5, 2018 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released September 21, 2018 | Mirare

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Solo Piano - Released September 14, 2018 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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Classical - Released July 13, 2018 | Mirare

Booklet
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Solo Piano - Released June 29, 2018 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason
The programme might be most eclectic; but its architecture is flawless: Lux, "Light", from dawn to night, an arc bending from Gregorian chant – the misa in aurora – all the way to the Moonlight of Beethoven's famous sonata, via the furious meridian heat of Scriabin's Fourth Sonata followed by the Prelude to the Afternoon of a Faun (rewritten for solo piano by Matan Porat himself), and many other pieces from Dowland to Thomas Adès to evoke this or that time of day. Matan Porat has put together a most original line-up – which is absolutely his hallmark – which some might find a little too challenging, but others will applaud: take your pick. We wonder where his next record will take us! © SM/Qobuz
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Classical - Released May 25, 2018 | Mirare

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Classical - Released May 11, 2018 | Mirare

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Classical - Released April 27, 2018 | Mirare

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Sacred Vocal Music - Released March 30, 2018 | Mirare

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Today, only three remain out of the nine Leçons de ténèbres that François Couperin has seemingly written. Composed for the “Religious Ladies” who belonged to the Order of the Poor Clares in the Abbey of Longchamp, near Paris, which was completely destroyed during the French Revolution, these Leçons represent the height of Baroque pietism from the end of Louis XIV’s reign, still completely permeated by the Jansenism from the previous century. As the abbey was open to the public, it became usual to give these Leçons de ténèbres not at night, but on Wednesday, Thursday and Friday afternoons. This was a society event that the Parisians came to attend. Very popular in the second half of the 17th century, these lessons of darkness became a genre very sought-after by many composers, among whom Marc-Antoine Charpentier who composed at least thirty of them, but of those very few survived to the present day. If François Couperin covers this slightly archaic genre at the beginning of the 18th century, he managed to breathe into it a new form by blending the proper austerity and a very Italian expression of pain which give his pieces a troubling sensuality. The Troisième Leçon (Third Lesson), for two voices, is particularly ornamented with coloraturas filled with affectation. Thanks to the genius of François Couperin, this exacerbated expression of pain isn’t very far from the opera, whose representations were forbidden during Lent. You could therefore follow the delicious spectacle of the most feverish and subtle human passions under the pretext of religion. The ensemble Les Ombres, co-headed by Margaux Blanchard and Sylvie Sartre, offers us this new album the Leçons de ténèbres and extracts from Couperin’s masses and motets, in a chiaroscuro mood which skillfully blends the French rigor spirit and the sweet Italian theatrics. © François Hudry/Qobuz
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Solo Piano - Released March 9, 2018 | Mirare

Hi-Res Booklet Distinctions Choc de Classica
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Cantatas (sacred) - Released February 16, 2018 | Mirare

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Diapason d'or / Arte
The cantata Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself) BWV 22, holds a historic place in Bach’s work. Indeed he composed it while still in Köthen, as an audition piece for the position of Thomaskantor in Leipzig, and then conducted it on February 7th, 1723, maybe even singing the bass part himself. Famously the city council, unable to convince its preferred composers – Telemann, Graupner and two others –, decided to settle with “mediocre” Bach… The gospel of the day first announces his death and his resurrection by Christ and his disciplines. A modest orchestra: voices, strings, one oboe and continuo, but the musical content is – like in almost all of Bach’s cantatas – amongst the best he’s ever written. For the same celebration, Bach composed a new cantata the following year, Herr Jesu Christ, wahr’ Mensch und Gott (Lord Jesus Christ, true Man and God) BWV 127. But it has almost nothing in common with the previous piece: here Bach offers a very impressive reflection on physical death. Throughout his cantatas he called for a blessed death to free himself from the vicissitudes of life on Earth, but this now reveals how much he may have feared physical death itself. The aria ”Die Seele ruht” is one of these sublime moments suspended in time, an ineffable tintinnabulum, in which the soprano and the oboe dialogue on a harrowing theme while the flutes and string pizzicatos symbolise the passing of time with incredible beauty. Finally it’s with Die Elenden sollen essen (The miserable shall eat) BWV 75 that Bach started off his work in Leipzig, in St. Nicholas Church this time, as the cantatas were alternately performed in both churches. Probably because he wanted to start with a bang, he designed this cantata on a huge scale: fourteen numbers, divided in two parts. Of course Bach would have never been able to produce such vast and powerful partitions on a weekly basis, but there is a real substance to this Passion… and it’s with great passion that Philippe Pierlot, his Ricercar Consort and the soloists perform these masterpieces. © SM/Qobuz
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Classical - Released February 9, 2018 | Mirare

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Keyboard Concertos - Released January 26, 2018 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason
Boris Berezovsky is one of these indomitable pianists who won’t restrict themselves to a set script, but rather let their instinct guide them. So plastic perfection is not the motto here. As shown by this new recording with one of the best Russian ensembles, the Svetlanov Symphony Orchestra. The concert’s programme, recorded live on April 8th, 2017, is very rich, combining Brahms’ Piano Concert No. 1 – with dimensions much more symphonic than simple concertantes – with a rarely performed partition: Stravinsky’s Concerto for Piano and Wind Instruments. Berezovsky rightly assumes that live recordings are much more exciting than in the studio. Concerts taping, despite their inherent flaws – false notes, blunders, coughing, etc. − mirror life itself and manage to capture the energy flows between the stage and the audience. The pianist doesn’t confine himself to playing his instrument: in fact, he’s also conducting from the piano! “I wanted to approach works for piano and orchestra as if they were chamber music on a large scale; these two works share this chamber quality” he explains. A rather monumental experience for a most intriguing musical result. © SM/Qobuz
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Duets - Released January 26, 2018 | Mirare

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama
The Hantaï brothers – Marc on traverso and Pierre on the harpsichord – give us here everything Bach “really” composed for flute and harpsichord, as some possible falsely attributed works are not featured here. Compared to the violin – which counts six sonatas and partitas for solo violin and six sonatas for violin and obbligato harpsichord – the transverse flute may look like the forgotten sibling in the Kantor’s works. But at the time the transverse flute was still a very recent instrument, that had just come (back) from France (where it was called the “German flute”) and Bach only started using it in his cantatas around 1721-1722, and therefore only had a very limited dedicated repertoire. These four sonatas are anything but a collection. Two are missing to reach the sacred number of six. Furthermore, they were composed over a period of twenty years. And while one may be tempted to confer them the balance and symmetry desired by the arranger – two sonatas with obbligato harpsichord (BWV1034 and 1035), two with basso continuo (1030 and 1032), two in minor, two in major, two in three movements, two in four, two in E, and two fifths ascending or descending from this central E, etc. –, all of it might be merely fortuitous; they are rather a “blended” family. However these works for flute have in common the fact of being clouded by great uncertainty – whether it is about their chronology, the date of composition, the intended recipient, their form, their main instrumentation, their creation… So all is left for the listener is to experience them, performed here on a flute made by Joannes Hyacinth Rottenburgh (first half of the 18th century) from Brussels, and a harpsichord after Mietke (Berlin) made in 1702. © SM/Qobuz
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Classical - Released January 19, 2018 | Mirare

Booklet