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Klassiek - Verschenen op 25 oktober 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 25 oktober 2019 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Liederen (Frankrijk) - Verschenen op 25 oktober 2019 | Bru Zane

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica
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Kamermuziek - Verschenen op 18 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
 
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Kwartetten - Verschenen op 11 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica - Qobuzism
Six quartets that are key to understanding what Joseph Haydn brought to the history of western music. This effort by the Quatuor Hanson is particularly successful because they know how to construct and express the quintessence of this subtle art. And what's more, they bring it off with a fascinating level of instrumental skill. Listening to this piece, we have to bow down once again before the genius of a composer who, along with Boccherini, invented a new genre and immediately studded it with masterpieces of staggering quality. Its title, All shall not die, is the international translation of the Latin epigraph engraved onto Haydn’s tombstone (non omnis moriar). The choice of this phrase indicates the permanence and universality of Haydn's body of work. Judiciously picked out from among Haydn's vast corpus, these six quartets are touching both in their expressiveness and in the perfection of their writing. Not a single note out of place, a perfect balance of four voices and an inspiration at every moment. The closing Opus 77, left unfinished, was a contemporary of Beethoven's first Quartets, Opus 18 – works that betray the lessons their writer learned from his master.More than two hundred years after his death, Haydn has only just found recognition as one of the greats, a status denied him in life. More than a forerunner, Haydn is a founder, a genius whose influence was felt by those who came after him, foremost amongst whom Beethoven and Schubert. This splendid album puts him (back) in his rightful place. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 20 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
The two splendid works on this album resulted from Manuel de Falla's encounter with the husband-and-wife team of dramatists Martínez Sierra-Lejárraga: El amor brujo, whose eminently ‘gypsy’ inspiration takes us to the very heart of the flamenco repertory, here magnificently embodied under the direction of maestro Pablo Heras-Casado; and the brilliant pantomime El sombrero de tres picos, for which Picasso designed the sets and costumes – exactly 100 years ago! © harmonia mundi
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Kamermuziek - Verschenen op 13 september 2019 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
Since setting off in the early 2000s, Pierre Hantaï is still journeying into Domenico Scarlatti’s world. After a hiatus of more than ten years following the third volume, the harpsichordist finally recorded a fourth volume in 2016 and this autumn sees the sixth one come into bloom, once again superbly recorded in Haarlem in the Netherlands by Nicolas Bartholomée. Pierre Hantaï is taking his time to gradually construct a perfect anthology of Scarlatti’s keyboard work. Here, he explores some of his little-known sonatas. His keyboard intensifies the profound rhythmic force of Scarlatti’s world: the sharp lines burst forth, the harmonic tension constantly explodes, the new tones are revealed smoothly, and his playing – with an exhilarating left hand – is stunning throughout. The first five sonatas of this new release (all of which have a fairly fast tempo) form a representative ensemble of a rather uncompromising Scarlatti, followed by a moment of gravity and meditation with the exquisite Sonata in F minor, K. 69, while the surrounding Sonatas K. 502 and K. 43 (with a wonderfully volatile left hand) have clearly marked rhythms. The style and atmosphere changes with Sonata in C major, K. 384, whose tender “French” tone is emphasised by Pierre Hantaï, and at the same time there’s an almost modern feel which goes beyond even Soler’s most audacious scores. Fascinating! While the tender sonatas (K. 550, K. 544) distil an aftertaste that is slightly more spicy than the previous volumes, what continues to surprise us with Hantaï in this repertoire is his prolonged search for a “Hispanic” feel - a Spain in a majestic trance, with colliding rhythms and contrasting accents and registers.Let’s hope that Pierre Hantaï does not wait another ten years to deliver the seventh volume; there is no doubt that these Scarlatti recordings will remain one of the most exciting and necessary musical adventures of the 21st century. A perfectly captured sound, style and universe. © Pierre-Yves Lascar/Qobuz
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Duo´s - Verschenen op 30 augustus 2019 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Klassiek - Verschenen op 7 juni 2019 | Deutsche Grammophon (DG)

Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Vocale muziek (wereldlijk en religieus) - Verschenen op 3 mei 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique
Fans of the British crown’s splendour will certainly marvel at this double album that reproduces the coronation anthems of the four monarchs of the 20th century: Edward VII in 1902, George V in 1911, George VI in 1937, and current Queen Elizabeth II in 1953. Very few of today’s ceremonies can reach such levels of grandeur.At the crossroads of tradition and innovation, these coronation ceremonies are characterised by the evocation of past heritage works, and the addition of numerous pieces commissioned specifically for the occasion to the best composers in the kingdom. For such events, Westminster Abbey is closed for several months to allow an army of craftsmen to build monumental galleries capable of hosting up to eight thousand guests. Then come the rehearsals with 400-singer choirs, half of them children, an immense orchestra, and the indispensable great organ.This recording is a selection of the best moments of these ceremonies, presented as a single liturgical structure. This ample reconstitution led by Paul McCreesh follows for the most part the 1937 ceremony, dropping however the era’s typical style when interpreting Handel. The musical approach has changed so much that it is presented here in the “baroque” style characteristic of our early 21st century. Some difficult choices were made, particularly regarding the Te Deum, the centrepiece and climax of the ceremony. A Cornelian choice between the ones from Stanford (1902), Parry (1911), Vaughan Williams (1937) and William Walton (1953). The latter was finally chosen, for its radiance and theatrical impetus. © François Hudry/Qobuz
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Kwartetten - Verschenen op 26 april 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
Formed in 1994 at the Royal College of Music in London, the Belcea Quartet already has an impressive discography, including the complete Beethoven string quartets. For this new recording, the ensemble has chosen three quartets by two iconic composers of the 20th century: Leos Janáček and György Ligeti. Fifteen years after their first recording for Zig-Zag, and after some changes in personnel, they have decided to record again the two string quartets by Janáček. The First Quartet was inspired by Leon Tolstoy’s famous novella, The Kreutzer Sonata: the four-movement work follows the narrative, including its culminating murder. The Second Quartet is subtitled Intimate Letters, in homage to Kamila Stösslova, with whom the composer had an important relationship expressed through letters, one that influenced both his life and his music. Finally, the First Quartet by Ligeti, subtitled Métamorphoses nocturnes because of its particular form. The composer described the work as a sort of theme and variations, but not with a specific theme that is then subsequently varied: rather, it is a single musical thought appearing under constantly new guises – for this reason the word ‘metamophoses’ is more appropriate than ‘variations’. © Alpha Classics
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Concerten voor klavier - Verschenen op 19 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique
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Symfonieën - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 1 maart 2019 | BIS

Hi-Res Booklet Onderscheidingen Le Choix de France Musique - Choc de Classica
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Symfonische muziek - Verschenen op 22 februari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Concerten voor cello - Verschenen op 18 januari 2019 | Warner Classics

Booklet Onderscheidingen Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
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Symfonische muziek - Verschenen op 18 januari 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica
Alpha begins a complete cycle of the symphonies by Sibelius alongside some of his symphonic poems with Gothenburg Symphony and its new chief conductor Santtu-Matias Rouvali. In the great tradition of Finnish conductors, Santtu-Matias Rouvali is known for his extremely physical and organic interpretations: ‘Music unmistakeably flows from him’, commented The Sunday Times. This was evident when, at a very young age, he stepped in to conduct a concert with the Finnish Radio Symphony Orchestra which began the journey to his first tenure as Chief Conductor with the Tampere Philharmonic; a meteoric rise to a career working at the highest musical level internationally; and a third post as Principal Guest Conductor of the Philharmonia Orchestra in London. When Bachtrack asked him how he shapes the orchestral sound, he replied: ‘I sing it, I move my hands the way I want it (…) the conductor should be able to show tempo somewhere in the body (…) I was also a drum kit player, so my feet and hands can do different things at the same time. When you read the score, you sing it in your head (…) I think it’s the sense of inside groove that you get from playing percussion which is very important in Sibelius’s music.’ In the Gothenburg Symphony he finds a prestigious cohort of musicians with an impressive discography, and joins a line of their illustrious musical directors, notably Neeme Järvi, the orchestra’s principal conductor from 1982 to 2004, but also Gustavo Dudamel, who is honorary conductor. © Outhere Music
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Concerten voor cello - Verschenen op 30 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - Le Choix de France Musique
Cellist Sol Gabetta and her almost-favourite pianist, Bertrand Chamayou, focus here on Schumann's all too rare repertoire for cello and piano. And once again, none of these pieces are intended a priori for cello, even though the original scores do propose the instrument as a possible alternative to the clarinet in Fantasy Pieces or the horn in Adagio and Allegro. It was only with Five Pieces in Folk Style that Schumann immediately thought of the cello! Here, Chamayou plays on a Viennese fortepiano by Streicher, dated from 1847 - three or four years after the composition of these three works. The Concerto for cello is accompanied by the Basel Chamber Orchestra, who also play on instruments from the romantic era, giving a more hushed yet incisive sound for the attacks. There’s more of an emphasis on the woodwind section as well, in contrast to the over-inflated string ensemble that so many modern orchestras offer up. © SM/Qobuz
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Piano solo - Verschenen op 30 november 2018 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica
Through his “brilliance and maturity” (as described by The Guardian) the Russian-Lithuanian pianist Lukas Geniušas has established himself on the international scene as one of the most interesting artists of his generation. He has appeared in London's Wigmore Hall, Amsterdam's Concertgebouw, Milan's Salle Verdi, Moscow's Conservatory and Roque d'Anthéron, and with orchestras such as the Philharmonique de Radio France, the National de Lyon, the NHK of Tokyo, the Saint Petersburg Philharmonic, the Russian National Orchestra, the list goes on... He has chosen here a Prokofiev programme combining early works from his younger years (the Ten Pieces Op. 12 which is a junior work and yet so intimately prokofievian already!) with the work from his first stage of maturity (Second Sonata from 1912) and the work from his full maturity (the Fifth Sonata). Even better, this Fifth Sonata was written "for the first time" in 1923 after his time in Paris, then revised three decades later under the constraint, undoubtedly, of the infamous Jdanov decree which had accused the composer of all anti-Soviet evils, but also due to a very personal concern (he wanted to purify the piano gesture). In a way this work seems almost "Parisian" as it has so many similarities with Poulenc's style. © SM/Qobuz
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Concerten voor viool - Verschenen op 26 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
To say that the concerto was one of Haydn's favourite forms would be a bit much, daft even. The man wrote a good hundred symphonies, dozens of quartets, trios, piano sonatas, fifteen or so masses and as many operas, and oratorios... Currently we know of three violin concertos (others being lost or apocryphal), two cello concertos (others... see above), one horn concerto, one for trumpet (there are no others) and at most about ten concertos for piano. Musically, they are fascinating works, but the level of technical skill they demand runs from moderate to a bit tricky. But the First Cello Concerto is not without its moments of difficulty, such as the rapid high notes in the final movement, and it offers some real fireworks. It should also be noted that most of the concertos were written for Esterházy, specifically for the first soloists in the house orchestra of Konzertmeister Luigi Tomasini and first cellist Joseph Weigl. The orchestral accompaniments offered the soloists some fine backdrops: in particular in the second movement of the Concerto for violin in C Major , with the orchestra's string section accompanying the solo violin with a sort of lute-playing that becomes a kind of serenade à la Don Giovanni. Amandine Beyer takes up the violin for this recording, while Marco Ceccato deals with the cello solo – both members of the Gli Incogniti ensemble ("The Unknowns"), a fluid grouping that plays without a conductor. Their leaderless style means that the musicians all listen to one another: it's a lovely way of making music (and sadly rare in the world of orchestras). © SM/Qobuz