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Rachmaninoff

Jean-Paul Gasparian

Classical - Released January 21, 2022 | Evidence

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The virtuoso pianist and composer Sergei Rachmaninoff, one of the last great figures of Russian Romanticism, was prone throughout his life to painful bouts of depression. His troubled nature found release in music of flamboyant intensity, combining dazzling, feverish, almost expressionistic passages with perfectly limpid melodies. The emotionally intense Piano Sonata No. 2 and the Six Moments musicaux illustrate this perfectly, while encapsulating the composer’s very distinctive poetry. Jean-Paul Gasparian is in his element here: after an acclaimed first recording devoted to the Russian School, he confirms in this third opus not only his elective affinities, but also his impressive command of this repertoire. There is profundity, density and warmth in his playing – qualities perfectly suited to the incandescent lyricism and the ardour and nobility that characterise the works of this Russian composer. © Evidence
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Bach: Clavier-Übung II, Chaconne

Aya Hamada

Classical - Released November 19, 2021 | Evidence

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Transcriptions were an important part of Johann Sebastian Bach’s oeuvre. For a composer who never took formal composition lessons, they were pathways to knowledge that allowed him to assimilate different styles and expand his musical horizons. In this recording the Japanese-American harpsichordist Aya Hamada explores the role of the transcription in Bach’s work, bringing together the Italian Concerto BWV 971 and the Overture in the French style BWV 831. Although they were composed for a keyboard instrument, these pieces are characteristic of the “imaginary orchestral transcriptions” that were prevalent in Bach’s output. They are paired here with the Toccata BWV 912 which highlights the crucial dimension of improvisation in Bach’s music. Finally, Aya Hamada offers a synthesis of these two approaches through Skip Sempé’s keyboard transcription of the Chaconne from the Partita BWV 1004. The Neuchâtel Museum’s Ruckers harpsichord is the perfect vehicle for this grand exploration of Bach’s keyboard artistry. © Evidence Classics
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Ravel

Clément Lefebvre

Classical - Released November 5, 2021 | Evidence

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If Maurice Ravel appears to us as the composer who brought French music into the modern era, it would be wrong to forget his deep attachment to the repertoire of the 17th and 18th centuries. Soberly entitled Ravel, this new album is here to remind our ears of the various influences that guided the work of the composer of Boléro. One will thus be able to hear several subtle and elegant interpretations of the minuet, the seventeenth-century form par excellence. From the second movement of the Sonatina, to the Tombeau de Couperin, including the more explicitly titled Menuet sur le nom de Haydn and Menuet antique, Clément Lefebvre delivers a sincere and luminous interpretation, articulating Ravelian harmonic innovations with more outdated rhythmic forms. The pianist particularly excels in the Menuet sur le nom de Haydn, from which he draws the best of the dissonances with a softer, sweeter temperament.It is this same character that animates the Pavane pour infante défunte, although it addresses the piece with more languor and restraint. In a way it borrows from the period of the Nocturnes of the early 19th century, we find the tropisms dear to Ravel: his pronounced taste for colorimetric variations, the stretching of textures and ambitus. Once again, Clément Lefebvre offers an impeccable version of this work, providing a panoptical vision of the different sound layers.The atmosphere changes with Le Tombeau de Couperin, both a tribute to the Baroque composer and a funereal eulogy to Ravel's close friends who died at the front during the Great War. Ravel here takes the opposite view to an elegy and composes this suite in a way that allows each dance evokes a vague sadness, which the performer expresses with perfect accuracy, even in the more light-hearted sections IV and VI.Winner of the Long-Thibaud-Crespin Competition in 2019, Clément Lefebvre puts his signature to a refined and elegant album. Ravel's music seems to be created just for him: beside the luminosity and the richness of the clashes which characterise the composer's work, the young pianist brings to his compositions a breath, a salutary respiration, and thus offers for our hearing a music which takes its own time. © Pierre Lamy/Qobuz
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Italian Concerto in F Major, BWV 971, BC L7, Op. 2: II. Andante

Aya Hamada

Classical - Released November 5, 2021 | Evidence

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Ravel: Le Tombeau de Couperin: Toccata

Clément Lefebvre

Classical - Released October 22, 2021 | Evidence

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Rachmaninov: Piano Concertos Nos. 2 & 3

Jae-Hyuck Cho

Classical - Released October 1, 2021 | Evidence

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Joseph Martin Kraus: Voix des Lumières

Marie Perbost

Classical - Released September 17, 2021 | Evidence

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Overshadowed by the giants Mozart, Haydn and Beethoven, many other highly talented composers also played a part in shaping the Classical style. "Génération Mozart" aims to reinstate those lesser-known composers and thus shed light on other aspects of Classicism. Joseph Martin Kraus is the subject of their first recording. Born in Germany, an almost exact contemporary of Mozart, he spent much of his career at the royal court in Stockholm, which is why he is commonly known as the “Swedish Mozart”. "Génération Mozart" is joined here by Marie Perbost, soprano, winner of the “Revelation, opera singer” category at the Victoires de la Musique 2020. They present a programme of vocal and orchestral music, often tormented in expression and heralding Romanticism. © Evidence Classics
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Piano Concerto No. 2 in C Minor, Op. 18: II. Adagio sostenuto - Più animato - Tempo I

Jae-Hyuck Cho

Concertos - Released September 10, 2021 | Evidence

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Joseph Martin Kraus: Der Tod Jesu, VB 17: "Er Starb, um uns von ewigem Tod zu retten"

Marie Perbost

Classical - Released September 3, 2021 | Evidence

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Dufay: Le Prince d'amours

Ensemble Gilles Binchois

Classical - Released August 20, 2021 | Evidence

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In the courts of the 15th century, music was a constant companion; the chanson was a daily pleasure, it was a vehicle for poetry, expressed passions, was a remedy for pain, and sublimated the richness of amorous relationships with its mastery and the refinement of its means. The chanson was perhaps the musical form in which Dufay, despite being a man of the Church, best expressed his immense talent. His 80 chansons show great diversity, enabling us to appreciate the constant evolution of the aesthetic of the genre. Throughout this evolution, Dufay was always seen as an absolute master among his peers, owing to the perfection of his writing and its intense expressivity, and enriched the history of music with a masterly oeuvre that went far beyond the stylistic boundaries of the time. The Ensemble Gilles Binchois chose to record 20 of Dufay’s chansons in which courtly love finds its most beautiful expression and refinement. © Evidence Classics
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Dufay: Par droit je puis bien complaindre et gemir

Ensemble Gilles Binchois

Classical - Released August 20, 2021 | Evidence

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Vivaldi, l'âge d'or

Marianne Piketty

Classical - Released July 9, 2021 | Evidence

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Haydn, Vellard: The Seven Last Words

Quatuor Debussy

Classical - Released July 9, 2021 | Evidence

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Legends

Coline Jaget

Classical - Released June 11, 2021 | Evidence

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Poems

Trio Arcadis

Chamber Music - Released May 28, 2021 | Evidence

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Mahler: Das Lied von der Erde

Orchestre National de Lille

Classical - Released December 4, 2020 | Evidence

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On the occasion of Jean-Claude Casadesus's reunion with the Orchestre National de Lille, the French label Evidence classics releases an exclusive live recording of Mahler's Das Lied von der Erde. Recorded during the Festival de Saint-Denis in 2008, this concert features the major soloists Violeta Urmana and Clifton Forbis, whose voices are rediscovered with delight. This album reaffirms the unique emotional strength of live recordings that serves admirably Mahler's masterpiece. © Evidence
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Rhapsody in Blue

Adélaïde Ferrière

Blues - Released December 4, 2020 | Evidence

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Asturias (After Suite Española No. 1, Op. 47) [Arr. for Marimba]

Adélaïde Ferrière

Classical - Released November 27, 2020 | Evidence

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24 caprices pour violon, Op.1 : XXIV. Caprice en La Mineur "Tema con variazoni" (Quasi presto) [arr. pour Marimba]

Adélaïde Ferrière

Classical - Released November 20, 2020 | Evidence

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Passacaglia (After "The Harpsichord Suite in G Minor, HWV 432" by Handel) [Arr. for Marimba]

Adélaïde Ferrière

Classical - Released November 13, 2020 | Evidence

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