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Classique - À paraître le 22 octobre 2021 | ECM New Series

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Classique - À paraître le 22 octobre 2021 | ECM New Series

Hi-Res Livret
On "Three Or One", Bach appears in transfigured light. Fred Thomas’ ECM New Series debut presents organ chorale preludes, vocal cantata movements and orchestral sinfonias – 24 pieces in all – transcribed for trio and solo piano by the British pianist himself. Throughout, Bach’s idiom is thoughtfully explored by three innovative players – a process Thomas describes as "quietly joyful" – and the trio pieces, primarily drawn from Bach’s Orgelbüchlein, acquire a fresh character in the hands of Thomas, violinist Aisha Orazbayeva and cellist Lucy Railton. Both respectful of the original musical texts but unique in their execution, Thomas’ reformulations strike a rare balance between moderation and innovation. In the process, the pianist draws attention to various techniques used to "separate the voices and avoid the typical blending and blurring of the organ in a church. Particularly interesting to me", he explains, "was to illuminate how the musical characters interact, sometimes stubbornly ignoring one another as they continue their trajectories, other times moving in separate dimensions, unaware of anything but themselves, and often intertwining in a kind of blissful symbiosis". <br< The pianist points to the tradition of improvisation that prevails in baroque music, elucidating his understated approach to Bach’s texts by referring to the spontaneous improvisational design that distinguished the changeable art of counterpoint in Bach’s time. Pointing to the things that were played but not written in the musical text, Thomas notes that "Baroque musicians shared a clear understanding of what the interpreter must contribute". A skill that translates to the pianist’s fellow interpreters on this recording and, enhanced by their versatile musical backgrounds, helped form these unique adaptations: "That we can’t help but bring too many things to the table is an incitement to creativity. Bach often re-used his own material and it is no surprise it came out differently each time. With his imaginative, technical and improvisatory powers, do we really believe that Bach would play the same thing the same way twice?" It’s a good question, and the key to the approach taken on "Three Or One". © ECM New Series
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Classique - À paraître le 22 octobre 2021 | ECM New Series

Livret
On "Three Or One", Bach appears in transfigured light. Fred Thomas’ ECM New Series debut presents organ chorale preludes, vocal cantata movements and orchestral sinfonias – 24 pieces in all – transcribed for trio and solo piano by the British pianist himself. Throughout, Bach’s idiom is thoughtfully explored by three innovative players – a process Thomas describes as "quietly joyful" – and the trio pieces, primarily drawn from Bach’s Orgelbüchlein, acquire a fresh character in the hands of Thomas, violinist Aisha Orazbayeva and cellist Lucy Railton. Both respectful of the original musical texts but unique in their execution, Thomas’ reformulations strike a rare balance between moderation and innovation. In the process, the pianist draws attention to various techniques used to "separate the voices and avoid the typical blending and blurring of the organ in a church. Particularly interesting to me", he explains, "was to illuminate how the musical characters interact, sometimes stubbornly ignoring one another as they continue their trajectories, other times moving in separate dimensions, unaware of anything but themselves, and often intertwining in a kind of blissful symbiosis". <br< The pianist points to the tradition of improvisation that prevails in baroque music, elucidating his understated approach to Bach’s texts by referring to the spontaneous improvisational design that distinguished the changeable art of counterpoint in Bach’s time. Pointing to the things that were played but not written in the musical text, Thomas notes that "Baroque musicians shared a clear understanding of what the interpreter must contribute". A skill that translates to the pianist’s fellow interpreters on this recording and, enhanced by their versatile musical backgrounds, helped form these unique adaptations: "That we can’t help but bring too many things to the table is an incitement to creativity. Bach often re-used his own material and it is no surprise it came out differently each time. With his imaginative, technical and improvisatory powers, do we really believe that Bach would play the same thing the same way twice?" It’s a good question, and the key to the approach taken on "Three Or One". © ECM New Series
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Classique - À paraître le 22 octobre 2021 | ECM New Series

Livret
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Classique - Paru le 4 juin 2021 | ECM New Series

Hi-Res Livret
Ce nouvel enregistrement des Concertos pour piano de Brahms a bien des chances de faire date pour toutes sortes de (bonnes) raisons parmi lesquelles se détachent les personnalités des interprètes et l’entrée d’un répertoire inhabituel au catalogue de ECM, le prestigieux label fondé en 1969 par Manfred Eicher pour promouvoir la musique de notre temps. D’autres critères entrent en jeu comme le fait que le pianiste est également le chef d’orchestre pour des œuvres qui exigent pourtant un grand travail de mise en place pour l’un comme pour l’autre. Enfin, et ce n’est pas le moindre attrait de cet enregistrement captivant, le fait de jouer cette musique sur instruments d’époque. Ici, The Orchestra Of The Age Of Enlightenment (Orchestre de l'Age des Lumières) se mêle aux sonorités d’un superbe piano Blüthner construit autour de 1859 à Leipzig, la date restant incertaine à la suite de la destruction de presque toutes les archives du fabricant pendant la Seconde Guerre mondiale. À la fluidité du jeu inspiré d’András Schiff répond la mécanique légère du piano aux sonorités parfois cristallines, mais avec toute la force (spécialement dans le registre des basses et des aigus) du vénérable instrument dont Brahms lui-même aurait pu jouer. Enregistrés en décembre 2019 dans les studios d’Abbey Road à Londres, ces deux concertos bénéficient d’une prise de son mettant particulièrement en valeur le dialogue du pianiste et de l’orchestre, ce dernier brillant des feux de la passion dès le puissant tutti d’entrée du Concerto en ré mineur, jusqu’aux joyeuses dernières mesures du Concerto en si bémol majeur. Ils ne sont pas nombreux les enregistrements qui viennent remettre les pendules à l’heure. Splendide ! © François Hudry/Qobuz
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Classique - Paru le 4 juin 2021 | ECM New Series

Livret
Ce nouvel enregistrement des Concertos pour piano de Brahms a bien des chances de faire date pour toutes sortes de (bonnes) raisons parmi lesquelles se détachent les personnalités des interprètes et l’entrée d’un répertoire inhabituel au catalogue de ECM, le prestigieux label fondé en 1969 par Manfred Eicher pour promouvoir la musique de notre temps. D’autres critères entrent en jeu comme le fait que le pianiste est également le chef d’orchestre pour des œuvres qui exigent pourtant un grand travail de mise en place pour l’un comme pour l’autre. Enfin, et ce n’est pas le moindre attrait de cet enregistrement captivant, le fait de jouer cette musique sur instruments d’époque. Ici, The Orchestra Of The Age Of Enlightenment (Orchestre de l'Age des Lumières) se mêle aux sonorités d’un superbe piano Blüthner construit autour de 1859 à Leipzig, la date restant incertaine à la suite de la destruction de presque toutes les archives du fabricant pendant la Seconde Guerre mondiale. À la fluidité du jeu inspiré d’András Schiff répond la mécanique légère du piano aux sonorités parfois cristallines, mais avec toute la force (spécialement dans le registre des basses et des aigus) du vénérable instrument dont Brahms lui-même aurait pu jouer. Enregistrés en décembre 2019 dans les studios d’Abbey Road à Londres, ces deux concertos bénéficient d’une prise de son mettant particulièrement en valeur le dialogue du pianiste et de l’orchestre, ce dernier brillant des feux de la passion dès le puissant tutti d’entrée du Concerto en ré mineur, jusqu’aux joyeuses dernières mesures du Concerto en si bémol majeur. Ils ne sont pas nombreux les enregistrements qui viennent remettre les pendules à l’heure. Splendide ! © François Hudry/Qobuz
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Classique - Paru le 30 avril 2021 | ECM New Series

Hi-Res Livret
"Anájikon", le deuxième album pour ECM de Konstanzia Gourzi, réunit des œuvres de musique pour orchestre et de chambre composées au cours de la dernière décennie. Le langage musical de la compositrice, née à Athènes mais installée à Munich, mélange des éléments de diverses traditions musicales, créant un dialogue entre l’Orient et l’Occident. Elle tient particulièrement à créer des liens entre les arts : deux des présentes compositions, le troisième quatuor à cordes Anájikon et l’œuvre pour orchestre Ny-él, font partie d’une série d’œuvres sur le thème des anges, inspirés de représentations d’anges de divers artistes. La compositrice dirige par ailleurs la pièce pour orchestre. Un tout autre lien entre le passé et le présent est entrepris dans Hommage à Mozart, composé en 2014 pour l’altiste Nils Mönkemeyer et le pianiste William Youn. © ECM New Series
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Classique - Paru le 30 avril 2021 | ECM New Series

Livret
"Anájikon", le deuxième album pour ECM de Konstanzia Gourzi, réunit des œuvres de musique pour orchestre et de chambre composées au cours de la dernière décennie. Le langage musical de la compositrice, née à Athènes mais installée à Munich, mélange des éléments de diverses traditions musicales, créant un dialogue entre l’Orient et l’Occident. Elle tient particulièrement à créer des liens entre les arts : deux des présentes compositions, le troisième quatuor à cordes Anájikon et l’œuvre pour orchestre Ny-él, font partie d’une série d’œuvres sur le thème des anges, inspirés de représentations d’anges de divers artistes. La compositrice dirige par ailleurs la pièce pour orchestre. Un tout autre lien entre le passé et le présent est entrepris dans Hommage à Mozart, composé en 2014 pour l’altiste Nils Mönkemeyer et le pianiste William Youn. © ECM New Series
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Classique - Paru le 12 mars 2021 | ECM New Series

Hi-Res Livret Distinctions Diapason d'or
The rather abstract-sounding title of this release by the Danish String Quartet comes from a series; the "Prism" recordings select a late Beethoven quartet and program it with an arrangement of a relevant Bach work as well as a later quartet from a composer who came under the influence of late Beethoven. The idea is that the original Bach work is refracted by Beethoven as if by a prism. It sounds like a slightly involved apparatus, and it is; the influence of the late Beethoven quartets is nowhere near as direct as the group suggests in its note, and one can even argue that Bartók was the first composer to really attempt to come to terms with them directly. This said, the importance of Bach in the music of late Beethoven is large and arguably under-explored, and there are several strong draws here, not least the performance of the Beethoven String Quartet No. 14 in C sharp minor, Op. 131. The Danish String Quartet sharply highlights the juxtaposition of contrapuntal and folkish material in this work, and their performance feels strongly connected to Bartók, who exploited the same contrast. Listen to the fifth-movement Presto of the Beethoven to hear an example of the unusually light and joyous quality the group brings to this work, despite its heavy opening. ECM's sound, always impressive, could hardly be improved upon; the acoustic environment of an old indoor riding stadium results in clarity without the harshness of church environments or the over-intimate quality of some studio recordings. An intriguing Beethoven release that is both expertly executed and worthy of discussion. © TiVo
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Classique - Paru le 12 mars 2021 | ECM New Series

Livret
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CD14,99 €

Classique - Paru le 12 mars 2021 | ECM New Series

Livret
The rather abstract-sounding title of this release by the Danish String Quartet comes from a series; the "Prism" recordings select a late Beethoven quartet and program it with an arrangement of a relevant Bach work as well as a later quartet from a composer who came under the influence of late Beethoven. The idea is that the original Bach work is refracted by Beethoven as if by a prism. It sounds like a slightly involved apparatus, and it is; the influence of the late Beethoven quartets is nowhere near as direct as the group suggests in its note, and one can even argue that Bartók was the first composer to really attempt to come to terms with them directly. This said, the importance of Bach in the music of late Beethoven is large and arguably under-explored, and there are several strong draws here, not least the performance of the Beethoven String Quartet No. 14 in C sharp minor, Op. 131. The Danish String Quartet sharply highlights the juxtaposition of contrapuntal and folkish material in this work, and their performance feels strongly connected to Bartók, who exploited the same contrast. Listen to the fifth-movement Presto of the Beethoven to hear an example of the unusually light and joyous quality the group brings to this work, despite its heavy opening. ECM's sound, always impressive, could hardly be improved upon; the acoustic environment of an old indoor riding stadium results in clarity without the harshness of church environments or the over-intimate quality of some studio recordings. An intriguing Beethoven release that is both expertly executed and worthy of discussion. © TiVo
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HI-RES21,49 €
CD14,99 €

Classique - Paru le 5 février 2021 | ECM New Series

Hi-Res Livret
The Hungarian word "Hallgató," the title of the first movement of the guitar concerto by jazz guitarist Ferenc Snétberger, means "student," but also "listener"; the audience for this live concert of music by Snétberger and others is invited to listen and learn. The program of music by Snétberger and the Keller Quartet is ingenious and powerful. It opens and closes with music by Snétberger, and the other works, quite various, share the haunting mixture of public-facing and inward heard in Snétberger's concerto and rhapsody. Samuel Barber, who has often been used to good effect by the otherwise resolutely contemporary-oriented Keller Quartet, is present with the original string quartet version of the Adagio for Strings, and there are arrangements of two Dowland lute songs that would seem to be completely out of place but most assuredly are not. The largest piece in the center of the program is the Shostakovich String Quartet No. 8 in C minor, Op. 110, and there is no one whose music seems to conceal personal reflection and memory under the surface more than Shostakovich. Snétberger's music, especially the Rhapsody at the end, has jazz-like elements, and he is actually better known as a jazz player than as a classical composer; this adds another layer of tension to a program that has a lot of it and compels the listener's attention from beginning to end. The only complaint is the live sound; ECM does its formidable best, but the coughs of a Budapest winter at the Liszt Academy Grand Hall intrude. © James Manheim /TiVo
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Classique - Paru le 5 février 2021 | ECM New Series

Livret
The Hungarian word "Hallgató," the title of the first movement of the guitar concerto by jazz guitarist Ferenc Snétberger, means "student," but also "listener"; the audience for this live concert of music by Snétberger and others is invited to listen and learn. The program of music by Snétberger and the Keller Quartet is ingenious and powerful. It opens and closes with music by Snétberger, and the other works, quite various, share the haunting mixture of public-facing and inward heard in Snétberger's concerto and rhapsody. Samuel Barber, who has often been used to good effect by the otherwise resolutely contemporary-oriented Keller Quartet, is present with the original string quartet version of the Adagio for Strings, and there are arrangements of two Dowland lute songs that would seem to be completely out of place but most assuredly are not. The largest piece in the center of the program is the Shostakovich String Quartet No. 8 in C minor, Op. 110, and there is no one whose music seems to conceal personal reflection and memory under the surface more than Shostakovich. Snétberger's music, especially the Rhapsody at the end, has jazz-like elements, and he is actually better known as a jazz player than as a classical composer; this adds another layer of tension to a program that has a lot of it and compels the listener's attention from beginning to end. The only complaint is the live sound; ECM does its formidable best, but the coughs of a Budapest winter at the Liszt Academy Grand Hall intrude. © James Manheim /TiVo
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CD16,49 €

Classique - Paru le 13 novembre 2020 | ECM New Series

Hi-Res Livret
"Lost Prayers" est le premier album chez ECM New Series à être entièrement dédié à la musique de chambre du compositeur estonien Erkki-Sven Tüür. Les effectifs instrumentaux réduits n’affectent pas pour autant la puissance expressive des compositions, et la volatilité du concept 'vectoriel' de Tüür émerge avec force dès les premières secondes de Fata Morgana qui est, avec Lichttürme, une de ses deux pièces pour violon, violoncelle et piano. Ces pièces sont interprétées par le trio estonien formé de Harry Traksmann, Leho Karin and Marrit Gerretz-Traksmann, qui ont tous largement joué la musique de Tüür et ont participé à des enregistrements chez ECM, dont "Crystallisatio" and "Oymoron". Le quatuor Signum joue le Deuxième Quatuor à cordes du compositeur intitulé "Lost Prayers", et son violoniste Florian Donderer interprète également Synergie, aux côtés de la violoncelliste Tanya Tetzlaff. L’album a été enregistré à la Sendesaal de Brême en avril 2019. © ECM New Series
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Classique - Paru le 13 novembre 2020 | ECM New Series

Livret
"Lost Prayers" est le premier album chez ECM New Series à être entièrement dédié à la musique de chambre du compositeur estonien Erkki-Sven Tüür. Les effectifs instrumentaux réduits n’affectent pas pour autant la puissance expressive des compositions, et la volatilité du concept 'vectoriel' de Tüür émerge avec force dès les premières secondes de Fata Morgana qui est, avec Lichttürme, une de ses deux pièces pour violon, violoncelle et piano. Ces pièces sont interprétées par le trio estonien formé de Harry Traksmann, Leho Karin and Marrit Gerretz-Traksmann, qui ont tous largement joué la musique de Tüür et ont participé à des enregistrements chez ECM, dont "Crystallisatio" and "Oymoron". Le quatuor Signum joue le Deuxième Quatuor à cordes du compositeur intitulé "Lost Prayers", et son violoniste Florian Donderer interprète également Synergie, aux côtés de la violoncelliste Tanya Tetzlaff. L’album a été enregistré à la Sendesaal de Brême en avril 2019. © ECM New Series
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Classique - Paru le 6 novembre 2020 | ECM New Series

Hi-Res Livret
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Classique - Paru le 6 novembre 2020 | ECM New Series

Livret
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Classique - Paru le 2 octobre 2020 | ECM New Series

Hi-Res Livret Distinctions Diapason d'or / Arte
Amis de longue date et partenaires réguliers sur scène, le pianiste András Schiff et le clarinettiste et compositeur Jörg Widmann se sont réunis pour la première fois en studio pour enregistrer les Sonates pour clarinette et piano Op. 120 de Brahms, chefs-d’œuvre de la maturité du compositeur. Aux côtés des deux sonates, Schiff interprète les Intermezzi pour piano de Widmann, compositions inspirées par son amitié avec András Schiff et leur amour partagé pour Brahms, à qui les deux musiciens rendent hommage. © ECM New Series
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Classique - Paru le 2 octobre 2020 | ECM New Series

Livret
Amis de longue date et partenaires réguliers sur scène, le pianiste András Schiff et le clarinettiste et compositeur Jörg Widmann se sont réunis pour la première fois en studio pour enregistrer les Sonates pour clarinette et piano Op. 120 de Brahms, chefs-d’œuvre de la maturité du compositeur. Aux côtés des deux sonates, Schiff interprète les Intermezzi pour piano de Widmann, compositions inspirées par son amitié avec András Schiff et leur amour partagé pour Brahms, à qui les deux musiciens rendent hommage. © ECM New Series
A partir de :
HI-RES23,49 €
CD16,49 €

Classique - Paru le 8 mai 2020 | ECM New Series

Hi-Res Livret
Vox Clamantis, under the direction of Jaan-Eik Tulve, has established itself as Estonia’s foremost small vocal ensemble, at home in the worlds of both old and new music. Their ECM New Series discography, accordingly, has ranged from Gregorian chant and Perotin (as on "Filia Sion") to present-day composers including Arvo Pärt ("The Deer’s Cry"), Erkki-Sven Tüür ("Oxymoron") and Helena Tulve ("Arboles lloran por lluvia"). On "The Suspended Harp of Babel" Vox Clamantis turns its attention to Cyrillus Kreek (1889-1962), whose work also took nourishment from ancient sources as well as from contemporaneous musical currents. One of the innovators of choral music in Estonia, Kreek drew extensively upon folk music and was a pioneer in the documentation of it, recording, transcribing and preserving for posterity hundreds of songs, both sacred and secular. His arrangements of these folk songs and folk hymns, as well as his settings of psalms, provided a bedrock for choirs in an idiom of his own, described by Paul Griffiths in the liner notes here as “restrained and yet glowing”. Cyrillus Kreek, born in the village of Saanika, was a contemporary of Arvo Pärt’s teacher Heino Eller, and both studied at the St. Petersburg Conservatory in the years before the First World War. Kreek’s music, emphasizing simplicity, clarity, and the natural quality of the human voice, influenced many composers in Estonia including Veljo Tormis (who also creatively deployed folk song in choral contexts) and Tõnu Kõrvits. The quietly radiant aura of his work is enhanced on the present recording by the contributions of Marco and Angela Ambrosini playing nyckelharpa and by Anna-Liisa Eller on kannel, the Estonian zither. Marco Ambrosini’s preludes and interludes imaginatively extend the spirit of Kreek’s pieces and in the case of Kui suur on meie vaesus ("Whilst great is our poverty"), call the music forth, the nyckelharpa drone summoning the kannel to pick out the melody of the folk hymn, preparing the way for the entrance of the singers. Throughout the album the purity of the voices is striking – the liner notes speak of “voices with the transparency of spring water”. Kreek’s music is celebrated in Estonia with a yearly festival, and there is a museum dedicated to the composer in Haapsalu. Documentation of his work outside his homeland has, however, been scant to date. "The Suspended Harp of Babel" – valuable both as entry point into Cyrillus Kreek’s sound-world and for its pre-echoes of Estonian music to come - is likely to trigger overdue recognition for a unique composer and researcher. This recording was made in April 2018 in Tallinn’s Transfiguration Church. © ECM New Series

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