Albums

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Classical - Released May 31, 2019 | naïve classique

Hi-Res Booklet
When it comes to posterity, Vivaldi has been quite lucky. Thanks to a series of happy accidents, his personal manuscript collection has survived through the centuries, allowing his music to be preserved and later played and recorded. Contralto Delphine Galou and Ottavio Dantone, the director of the Accademia Bizantina, drew from this invaluable batch of nearly 450 compositions to develop this album’s program of sacred music dedicated to the alto voice. This recording includes two “introdutioni” for alto, a kind of motet whose form would have been devised by Vivaldi for his Venetian work for the Pietà. You can also find the vespertine hymn Deus tuorum militum for alto and tenor (Alessandro Giangrande), as well as a Regina coeli, a Marian antiphon played on Easter Sunday. At the heart of this album is a violin concerto written for the day of the The Assumption of Mary (August 15th). The importance of this celebration in the Italian liturgical calendar is underlined here by a score of an unusual length for a Vivaldi concerto, with it being divided into two orchestral parts that exchange a sometimes and sometimes joyous dialogue. Written for his student Anna Maria, the solo violin part preserved in the archives is played here by Alessandro Tampieri, who has once again enriched it with a very virtuoso "capriccio" of his own making. © François Hudry/Qobuz
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£7.19

Classical - Released May 31, 2019 | naïve classique

Hi-Res Booklet
When it comes to prosperity, Vivaldi got pretty lucky. Thanks to a succession of happy accidents, his personal collection of manuscripts has survived through the centuries, allowing his music to be preserved, then later played and recorded. The contralto Delphine Galou and Ottavio Dantone, the director of the Accademia Bizantina, drew from this priceless batch of nearly 450 compositions to develop the program for this album of sacred music pieces dedicated to the alto voice. This new recording of the Vivaldi Edition, begun by NAÏVE many years ago, offers cantatas and arias for viola, functioning as perfect companions for the album of works sung by the same Delphine Galou. The lyrics, often by unknown authors, do not have a strong literary interest. Here, we find a pastoral world populated by shepherds in need of love as well as cruel and fickle nymphs, obeying the cannon of the time. Vivaldi takes advantage of these stereotypical characters to vary his expressive palette in a very subtle way and introduce the operatic style into works primarily intended for living rooms. The exceptional quality of his music generally transcends the commissioned work he is obliged to do, both in Mantua and Venice. These cantatas are accompanied here by some arias from his many operas. They allow Delphine Galou to fully express the variety and range of her singing through the pathetism of Liquore ingrato (Tito Manlio), the sweetness of "Andrò fida e sconsolata" of the same opera or the innocent grace of a childish song in the aria "È pure dolce ad un'anima amante" (Il Giustino). © François Hudry/Qobuz
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Classical - Released May 24, 2019 | naïve classique

Hi-Res Booklet
Founded in 2018 by the singer Emiliano Gonzalez Toro, a specialist in baroque music and Monteverdi in particular, the ensemble I Gemelli has set itself the task of protecting the great works of the Italian "Seicento" (meaning 17th century), not hesitating to unveil many scores that are as yet still unpublished, waiting deep in the libraries for the musicians who will bring them to life. This is the case for composer Chiara Margarita Cozzolani, to whom the conductor and her ensemble dedicate their first album, with several superb psalms and motets collected here to form an office of “Vêpres à la Vierge” (Vespers to the Virgin). It’s the extraordinary richness of the Italian convents’ archives that has enabled the unearthing of this sensual and delicate music published some thirty years ago after Montevardi’s Vêpres, which seems to have served as a model. A nun, then abbess of the convent of Saint Ragedonde in Milan, Chiara Margarita Cozzolani was born into an upper-class Milanese family. Emiliano Gonzalez Toro’s choice was the collection of the 1650 Salmi a otto voci ("Psalms for 8 voices") and the Concerti sacri, published in 1642. They are connected to each other by an older work, composed by Caterina Assandra, with the text of "Duo Seraphim" already set to music by Monteverdi in his own Vêpres from 1610. Looking to the future, with the use of dissonances reinforcing expression, these psalms and motets alternate between parts for choir and those for soloists, with a voice treatment designed to highlight the talent of the singers of Sainte-Radegonde. A double debut album: the first for the ensemble and the first dedicated to this composer whose talent demands our full attention, just like her contemporaries Cavalli, Strozzi or Benedetto Ferrari. © François Hudry/Qobuz
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Classical - Released May 10, 2019 | naïve classique

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Classical - Released May 10, 2019 | naïve classique

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£2.09
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Classical - Released May 10, 2019 | naïve classique

Hi-Res
£2.09
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Classical - Released May 10, 2019 | naïve classique

Hi-Res
£2.09
£1.39

Classical - Released May 10, 2019 | naïve classique

Hi-Res
£2.09
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Classical - Released May 10, 2019 | naïve classique

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Classical - Released May 3, 2019 | naïve classique

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Quartets - Released January 18, 2019 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
Following on from its highly-acclaimed complete cycle of string quartets from the Viennese School, the Quatuor Diotima reaches new heights in its discography with a recording of some of the most significant works of the 20th century music: the six quartets of Béla Bartok, born out of the different artistic and political influences of the time. “These six quartets give us a genuine overview of the composer’s personal life, from his first disappointment in love to the heartbreaking farewell to his mother and his homeland. The evolution of his musical language is equally spectacular. Starting with a post-Romanticism imbued with folklore, still very present in the first two quartets, the Bartókian identity is fully asserted in the great works of his maturity that are the Third, Fourth and Fifth Quartets, and culminates in the highly individual form of the Sixth Quartet, one great song of despair and nostalgia. […] There is a before and an after Bartók in the quartet world. He renews, reinvents all the issues of the genre, the question of the relationship between the voices of the quartet governing the forms, the search for the ‘little difference’, the search for heterogeneity in so homogeneous a medium.” © Naive Classique
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Full Operas - Released November 16, 2018 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
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Opera - Released November 9, 2018 | naïve classique

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Opera - Released November 9, 2018 | naïve classique

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