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Duets - Released January 15, 2021 | Larghetto

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Chamber Music - Released July 15, 2020 | MSR Classics

Recorded: [1-4]: January 2014, at Towson University Center for the Arts [5-7]: August 2016, at Grusin Music Hall, University of ColoradM Boulder [8-12]: May 2018, at Powell Methodist Churchm Ohio
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Secular Vocal Music - Released June 19, 2020 | SFS Media

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This 2020 release was Michael Tilson Thomas' final album as conductor of the San Francisco Symphony Orchestra. That he chose to present his own music suggests that he considers it underexposed, and he makes a good case. The two works were written 30 years apart, and although they share a common use of tonality, ranging from conventional to atonal, they are entirely different in most ways. From the Diary of Anne Frank was composed in 1990 for actress Audrey Hepburn in connection with her United Nations work. Frank's words are spoken, in melodrama fashion, over an illustrative orchestral background, and the fine reader here is Isabel Leonard, in an unaffected American accent. Meditations on Rilke was composed in 2019, and it hardly sounds like anything you might imagine from the title. From the opening passage of honky-tonk piano, recalling a small-town sojourn of Rilke's father, the score is startlingly eclectic. The reference point here is the orchestral songs of Mahler, and the cycle suggests a 21st century version of that composer. That sounds odd with poetry by Rilke, which has a certain specific mood, but somehow it works, and the cycle has a pleasing quality of being jam-packed with ideas. The San Francisco Symphony plays with total commitment to the occasion, and this release might easily stimulate interest in Tilson Thomas' other music. © TiVo
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Classical - Released May 15, 2020 | Disques Triton

 
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Vocal Music (Secular and Sacred) - Released March 20, 2020 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
The starting point for Barbara Hannigan’s third recording for Alpha is a work by Gérard Grisey (1946-98) that is particularly close to her heart. Grisey wrote: ‘I conceived the Quatre Chants pour franchir le seuil (Four songs for crossing the threshold) as a musical meditation on death in four parts: the death of the angel, the death of civilisation, the death of the voice and the death of humanity... The texts chosen belong to four civilisations (Christian, Egyptian, Greek, Mesopotamian) and have in common a fragmentary discourse on the inevitability of death’. Luigi Nono (1924-90) was a politically engaged composer. His stunning monody Djamila Boupacha, a heart-rending cry for solo soprano, pays tribute to a freedom fighter tortured by French paratroopers during the Algerian war; Picasso also portrayed her in charcoal. Once again Barbara Hannigan both sings and directs this pair of twentieth-century works with her friends of the Ludwig Orchestra. She has chosen to couple them with a Classical symphony by the master of the genre, Joseph Haydn, which also deals with the theme of the Passion. Her interpretation is extremely intense and highly personal. © Alpha Classics
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Classical - Released March 13, 2020 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - 5 étoiles de Classica
Erkki-Sven Tüür, born in Estonia in 1959, writes music that is characterised by intense energetic transformation. The intuitive and rational approach is synthesised into a complete organic system. He is the composer of nine symphonies, ten concertos, numerous chamber works and an opera. Dedicated to his compatriot Paavo Järvi and composed to mark the centenary of the Estonian Republic in 2018, Tüür’s Ninth Symphony is entitled "Mythos". According to the composer, this refers to the myths that arise about nations and how they have acquired their independence, and also deals with the long history of the Finno-Ugric peoples. Paavo Järvi and his Estonian Festival Orchestra have made the world premiere recording of this work, along with The Incantation of Tempest (2004), dedicated to the Estonian composer Veljo Tormis, and Sow the Wind, composed in 2015, inspired by climatic ‘gusts of wind’ and ‘whirlwinds’. © Alpha Classics
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Choral Music (Choirs) - Released March 6, 2020 | BIS

Hi-Res Booklet Distinctions Diapason d'or
A major work by Luciano Berio, Coro brilliantly fulfilled his encyclopedic ambition: a unique meeting of world folklore that gathers texts and melodies borrowed from Italian, Croatian, Jewish, Persian, Gabonese, Polynesian, Chilean, Peruvian, Navajo, and Sioux traditions, centered around the poem Residencia en la Tierra by Pablo Neruda. Written in 1976 for forty singers and forty-four instrumentalists seated together in pairs, at times functioning as soloists, at others as part of a whole, Coro is a manifesto that's both political and musical. Described by its author as "neobaromanticosymbodialectostructuralist", Coro is a grandiose accumulation of texts and sounds that sets out to abolish borders by marshalling a gigantic musical catalogue and elements re-written by Berio in a great cultural exchange lasting over an hour. The work becomes a streetmap of an "imaginary city, which is realised on different levels and generates, assembles and unifies different things and persons, revealing their individual and collective characters, their distance, their relationships and conflicts within real and virtual borders" (Berio). Conducted by its artistic director Grete Pedersen, the Norwegian Soloists’ Choir has made highly acclaimed recordings ranging from Norwegian folk songs to Xenakis, Hildegard von Bingen, Bach and Brahms. Joined by the Norwegian Radio Orchestra, it gives a rendition here of one of the greatest choral works of the last half-century. This recording concludes with Cries of London for eight voices, which was composed at the same time as Coro , for the King's Singers. © François Hudry/Qobuz
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Classical - Released January 24, 2020 | B Records

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released January 17, 2020 | Warner Classics

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Vocal Music (Secular and Sacred) - Released January 3, 2020 | CPO

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released November 29, 2019 | Paraty

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Classical - Released November 1, 2019 | L'empreinte Digitale

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released October 25, 2019 | Arcana

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Classical - Released October 18, 2019 | Larghetto

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Vladimir Cosma has already enriched the mandolin concertante repertoire with the Concerto Mediterraneo for mandolin and orchestra, the Fantaisie concertante for mandolin and strings, the Suite populaire for mandolin and accordeon, the Triptyque for plectrum quartet and the 16 Duets for mandolin and guitar, composed between 2015 and 2018. The 24 Caprices de concert are written for mandolin solo, presenting a unique collection, equally virtuoso and expressive. Dedicated, as are the works listed above, to Vincent Beer-Demander, this composition written in 2018 is conceived as a reference and homage to Niccolò Paganini’s 24 Caprices for solo violin. The composer self-imposed, in effect, a double objective, so that each caprice balances and sustains the other: on the one side exploring all the technical possibilities of the mandolin, in style of the most classical, including guitarist or percussive skill, and on the other to give the virtuosity not only as a spectacular demonstration, but as the means to express diverse poetic moods. Variety of atmosphere and themes, virtuosity of writing, especially as requested by the performer; modest melancholy, lightness of touch, roughness tempered by an inclination towards lyricism, natural melodic effusion, these are the degrees of strength in this cycle, unique in its genre, destined to become a touchstone in the repertoire for this instrument. (Lionel Pons, musicologist)
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Classical - Released October 18, 2019 | Wergo

Distinctions 5 de Diapason
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Classical - Released October 15, 2019 | Disques Triton

Distinctions 5 de Diapason
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Classical - Released October 4, 2019 | BIS

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released September 27, 2019 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama
Paavo Järvi inaugurates his new contract as conductor of the Tonhalle Orchestra in Zurich with a programme devoted to Messiaen. Alpha Classics will accompany this extremely promising combination: ‘I’ve always admired French music very much. (...) I think Messiaen is the most original voice, someone absolutely unique. You need only listen for three seconds to a work by Messiaen to be sure that it is by him. His style is so clear, so unmistakable. In his two early works Les Offrandes oubliées and Le Tombeau resplendissant, religion and mysticism play an important role. If you listen carefully, you will notice how a harmony is continually transformed, so that you can never predict what sound will come next. But Messiaen’s harmonic language is not experimental: it produces an inevitable meaning, and you get the feeling that the chord sequence can be that way and no other. Music is a language of its own; music begins where words leave off.’ (Excerpt from an interview with Paavo Järvi) © Alpha Classics
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Classical - Released September 27, 2019 | Channel Classics Records

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Classical - Released September 13, 2019 | Decca Music Group Ltd.

Hi-Res Distinctions 5 de Diapason
Over the past three years, the Montreal Symphony Orchestra (a huge contributor to the Decca label since Charles Dutoit’s lead from 1977-2002) and Kent Nagano have been making an exciting series of recordings, focusing on rare works, namely Honegger-Ibert’s L’Aiglon and Leonard Bernstein’s A Quiet Place. Today, they continue their recording journey on American terrain, with a retrospective entirely dedicated to John Adams. They had left for unknown territory with Bernstein and now they return to town to celebrate one of the popes of minimalism. While Harmonielehre, a vast triptych composed in 1985 (a humble tribute to the early 20th century with perceptible influences from Wagner, Schönberg, Sibelius and Ravel) and the exciting fanfare Short Ride in a Fast Machine composed for orchestra in 1986 have been superbly championed by Sir Simon Rattle (EMI, Birmingham, 1993) as well as Michael Tilson Thomas (San Francisco, 2010-2011), few have recorded Common Tones in Simple Time (the composer’s first work for a large orchestra written in 1979) since Edo de Waart’s recording for Nonesuch in November 1986 at Davies Symphony Hall. The piece recalls Stravinsky’s Petrushka and Kent Nagano’s fluid and gentle touch is perfectly suited to this absolutely fascinating score. Throughout the other works in the programme the American conductor is consistent with his own rather “pointillist” style. In fact, Adams is almost like a modern transcription of Seurat’s paintings. This great clarity in the harmonic superimpositions also reveals the clear influence of Berg and Webern in The Anfortas Wound and allows for new balances in the incipit of the final part of Harmonielehre (Meister Eckhardt and Quackie), one of John Adams’ most striking scores, especially since the tempos and rhythms remain measured here (unlike Michael Tilson Thomas’s interpretation), giving a stirring new version of an unmissable major work. However, the greatest highlight of this anthology is still Common Tones in Simple Time, which almost sounds like a sonic representation of Van Gogh’s Starry Night. © Pierre-Yves Lascar/Qobuz