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Symfonieën - Verschenen op 19 juli 2019 | London Philharmonic Orchestra

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Wie schön, die vielen Glissandi! Die haben uns gefehlt. Zu einer Zeit, in der sich alle Dirigenten, ob jung oder alt, verpflichtet fühlen, ihren Beitrag zu Mahlers Werk zu leisten, während so viele andere Repertoires es verdienen, entdeckt zu werden, scheut Vladimir Jurowski, der sich bereits mehrfach ausgezeichnet hat, und zwar mit großer Freude in der Welt des "tschechischen" Komponisten (Symphonie Nr. 1, Symphonie Nr. 2, Totenfeier), nicht davor zurück, Lösungen zu finden, die heute besonders zweifelhaft erscheinen. Es ist eigenartig, aber so viel Stil kann man nicht ablehnen... Wie Ruhevoll es hier ist! Jurowski setzt seine mahlersche Reise hier mit der Symphonie Nr. 4 fort. Und er bietet einen völlig neuen Weg, bei dem sich die Stimmen von Dvořák und Janáček mit denen von Bruckner und Strauss verbinden. Wäre Mahler vielleicht eine Synthese? Auf jeden Fall ist er gerade deshalb modern und Jurowski weiß das. All dies scheint für ihn zu einem Spiel zu werden. Suchen Sie nicht nach Äther (Auf Wiedersehn Abbado) und auch nicht nach der Ewigkeit (Haitink). Stattdessen gurgeln die großen Flöten, meckern die Klarinetten, erröten die Fagotte, toben die Pauken, und über all diesem böhmischen Lärm fangen die Geigen vor lauter "Beißen" sogar zu singen an. Die vielschichtige Poetik von Bedächtig ist noch nie so um jeden Preis lebendig, natürlich, in strahlendem Dur erklungen. Die Skordatur des zweiten Satzes gibt uns eine kleine Vorstellung von der Hölle und eine Art Vorgeschmack auf die Burleske der Neunten. Aber das Horn besteht immer noch darauf, gehört zu werden, und die Lyrik wird alles gewinnen, auch im Herzen der wiedergekehrten Hölle. Im Schlusslied (Sehr behaglich) führt die perfekte Stimme der Sofia Fomina ihren luftigen Tanz auf, mit einem Hauch kindlichen Geists (Reinheit, Einfachheit), der über „Kein' Musik ist ja nicht auf Erden die unsrer verglichen kann werden“ hinausgeht. Und plötzlich stellt sich die Frage, ob etwa Seefried und Walter die Inspiration für Jurowskis bezaubernde Lesart, einem wahren "Sacre du Printemps" Mitteleuropas, sind? Und wann erscheint die Symphonie Nr. 6? © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 5 juli 2019 | Decca

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Piano solo - Verschenen op 5 juli 2019 | APR

Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 5 juli 2019 | BIS

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Winner of the 2009 Van Cliburn competition, Haochen Zhang is no stranger to a challenge. On this début concerto recording he proves this once more, boldly jumping in at the deep end as he takes on Sergei Prokofievs Piano Concerto No. 2. The demands posed by Prokofievs concerto are famous, starting with a huge cadenza already in the first movement. This may explain why the concerto was for a long time relatively unknown and, unlike the First and Third Piano Concertos, has only recently taken its rightful place in the repertory. The work was premièred by the composer himself in 1913, shocking the audience with its modernistic sounds and jagged rhythms. But even though Prokofiev was happy to nurture a reputation for badboy modernism, there is also a rich seam of Russian tradition which underlie his music from the beginning to the end of his career. It is therefore fitting that Haochen Zhang has chosen to complete the album with one of the best-loved concertos from that tradition: Tchaikovskys Piano Concerto in B-flat minor. In both works, Zhang is supported by the Lahti Symphony Orchestra under the baton of its principal conductor, Dima Slobodeniouk. © BIS Records
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Klassiek - Verschenen op 14 juni 2019 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
After having explored the remaining cantatas of Johann Sebastian Bach’s ancestors, Vox Luminis and Lionel Meunier have undertaken here a recording, accompanied by instrumentals, of these sacred vocal compositions. They are pieces that connect us to the principles of the “spiritual concert” (Geistliches Konzert) and that, through their multi-parted structure, belong to the origins of the sacred genre of the cantata. It was through Johann Sebastian himself that we owe the knowledge of his musical ancestors. Around the age of fifty, he felt the need to collate and retrace his family tree, most likely originating from Hungary where the miller Vitus Bach always brought a cittern with him on his way to grinding wheat. The works of the Bach family presented here represent the first of the sacred German cantatas along with those of Bruhns, Buxtehude and Pachelbel. We can hear here the predecessors’ works that led to one of the first similar works by Johann Sebastian, his cantata “Christ lag in Todesbanden BWV 4”, was considered for a long time as one of the first compositions of its genre. In addition to its striking likeness to the form of cantata eponymous to Pachelbel, this composition contains numerous elements which can notably be traced back to the works of his ancestors. © François Hudry/Qobuz
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Religieuze vocale muziek - Verschenen op 14 juni 2019 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 14 juni 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Volledige opera's - Verschenen op 7 juni 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
While Mozart was largely overlooked in the French capital, Antonio Salieri took on the reigns of the Académie Royale de Musique (Paris Opera), a fruitful collaboration that was completely broken up by the French Revolution. After the success of his work Les Danaïdes, composed for Paris in 1784, Salieri worked tirelessly with Beaumarchais, spurred on by the success and scandal of his Figaro, on a new project which would become Tarare. Beaumarchais moved himself shamelessly toward stardom, skillfully self-promoting and attending rehearsals so as to assure that the orchestra played pianissimo to emphasize the primacy of his verse during performances. Beaumarchais found that the music was too overwhelming to “embellish the lyrics”.Created one year after Mozart’s The Marriage of Figaro (which was relatively well-received in Vienna before triumphing in Prague), Tarare was an immense success in Paris maintaining the status of the composer’s repertoire despite the political turmoil of the time before disappearing from view around 1826, thereon ceasing to be played. Beaumarchais’ words were immediately adapted into Italian by Lorenzo Da Ponte to be performed and met with equal success in Vienna. Tarare is half lyrical tragedy, half comic opera with a hint of orientalism.After resuscitating Les Danaïdes and Les Horaces, Christophe Rousset finished off his series of recordings dedicated to Salieri’s French operas for the Parisian public. Tarare is very much of its time, that of the Lumières, and used the power of art to challenge despotism in all its forms. Thanks to Christophe Rousset’s excellent delivery and lively direction, this recording enables one to judge the merits of the composition and the chasm that separates an honest and talented musician from a solitary and impassioned one like Mozart. © François Hudry/Qobuz
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Opera - Verschenen op 7 juni 2019 | Halle Concerts Society

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 7 juni 2019 | Kings College Cambridge

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Liederen (Duitsland) - Verschenen op 31 mei 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
Born in a small Norwegian village in 1987 (and is thus inevitably compared to her long-time compatriot Kirsten Flagstad), soprano Lise Davidsen was almost built to embody Wagnerian and Straussian heroines. For her first record under the label Decca, with whom she has signed an exclusive contract, she has chosen to present several facets of femininity in the vocal stylings of Elisabeth (Tannhäuser), Ariane (Ariane à Naxos) and… Pauline. Pauline being Richard Strauss’ beloved wife to whom he dedicated many Lieder from his opus 27 - the 1894 cycle offered to his wife as a wedding gift - until the last Vier letzte Lieder in 1948.Under the supple baton of Esa-Pekka Salonen, the Philharmonic Orchestra embraces the brassy voice of the Norwegian soprano with finesse and elegance. As you will see, this record, with its carefully devised programme, oscillates between youth and old age, in the presence of ghosts and death. You may wonder how one can express mortality at just 30 years old with such a powerful timbre, radiant health and a whole life ahead of you. The answer lies in Lise Davidsen’s voice, which upsurges as if it were a promise of immortality, the music of the last Strauss piece returning one last time to its past, to a Europe in ruins.Discovered in 1984, after the death of the singer and dedicatee Maria Jeritza, Malven (“The Mallows") is Richard Strauss’ true “last song”. Lighter in tone than the Vier letzte Lieder to which it might have belonged, it is presented here in an orchestration by Wolfgang Rihm. © François Hudry/Qobuz
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Concerten voor klavier - Verschenen op 31 mei 2019 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
Jean-Efflam Bavouzet’s first three volumes of Mozart concertos with the Manchester Camerata and Gábor Takács-Nagy have been received with widespread acclaim, and so it is with some excitement that we release the keenly anticipated fourth instalment in the series. Composed within just one month in early 1785, these two concertos by Mozart are among the most popular of all his piano concertos. No. 20, KV 466 was his first concerto in a minor key, and its dark and stormy nature contrasts with the light and sunny atmosphere of Concerto No. 21, KV 467. Like so many of his piano concertos, both works were composed for the Vienna concert season and were given their premiere performances with Mozart at the keyboard. The two concertos are interspersed on this recording with a vivid performance of the Overture to Don Giovanni, which shares traits with both concertos and further demonstrates the exemplary playing of Manchester Camerata. © Chandos
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Klassiek - Verschenen op 31 mei 2019 | Supraphon a.s.

Hi-Res Onderscheidingen Gramophone Editor's Choice
Before he was completely overwhelmed by love for composing, Leoš Janáček pursued a career as a virtuoso pianist. He was closely familiar with the instrument, which served for him to share his innermost emotions and feelings. Janáček wrote his first opus, Thema con variazioni, at the age of 26, when he was studying at the Leipzig Conservatory. The miniature piece A Recollection is one of his last scores. The composer conceived his three essential piano works, 1.X. 1905, On an Overgrown Path and In the Mist, between 1900 and 1912, which was a difficult phase in his life. They are perhaps the most personal, most intimate pieces he wrote. Janáček was inspired by the sound of the cimbalom, an instrument he often heard when collecting folk songs in Moravia. The genes of the pianist Jan Bartoš evidently bear the traces of the ample musical tradition of his ancestors, including his grandfather, a cimbalom player. The legacy of folk music and the Silesian origin is what Janáček and Bartoš have in common. In his account of Janáček's music, the pianist reveals a profound musicological insight, as well as a fascinating intuition - the inspiring integration of the heart and the brain, owing to which Bartoš's previous Supraphon albums have met with such great acclaim. © Supraphon
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Klassiek - Verschenen op 31 mei 2019 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Chief Conductor of the BBC Symphony Orchestra since 2013, Sakari Oramo has a special affinity with the music of his compatriot the Finnish composer Sibelius, which this recording admirably demonstrates. Sibelius’s ever-popular Lemminkäinen-Suite is complemented here with the early Spring Song and the lesser-known Suite from Belshazzar’s Feast. Sibelius composed the Lemminkäinen-Suite (also called the Four Legends, or Four Legends from the Kalevala), Op. 22 in the 1890s. Drawing on material originally conceived for a mythological opera, Veneen luominen ("The Building of the Boat"), the suite focuses on the character Lemminkäinen from the Finnish national epic, the Kalevala. In 1906 Sibelius composed ten numbers of incidental music for the play Belshazzar’s Feast (by Hjalmar Procopé), which was first performed in the Swedish Theatre in Helsinki in November of that year, the composer conducting. The following year, Sibelius extracted four of the movements to form the more widely known orchestral suite that we hear in this recording. © Chandos
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Klassiek - Verschenen op 31 mei 2019 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
After 40 years of activities, more than 50 recordings and some 1000 concerts, the Ensemble Gilles Binchois still develop its inquiring generosity. Dominique Vellard and his musicians make all eras become contemporary. Indeed, if the core of its concerns is somewhere between the Middle Ages and the Renaissance, the Ensemble sang everything from Gregorian chant to the religious repertoire of the nineteenth century. Today they guide our ears towards the shores of the Mediterranean, where an intense artistic vitality grew between the fourteenth and fifteenth centuries. After Machaut’s model, the composers attached to the court of Avignon, Barcelona and Cyprus, show ingenuity and imagination: their motets and masses are the ground of rhythmic and melodic finds. To draw a complete portrait the Ensemble Gilles Binchois perform pieces of plain-song and instrumental compositions with two vielles and a medieval mandolin. First milestone of its 40th anniversary, this new record lets the South sun shine thanks to the voices of its singers and the timbre of the ancient strings. © Evidence
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Klassiek - Verschenen op 24 mei 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
"Zwiegespräche" is a meeting of spirits. “We compose the same way,” said György Kurtág to Heinz Holliger on hearing this recording, which emphasises works for oboe by these two major composers. Both of them reference the entire history of music in their pieces, both incorporate dedications and messages to friends and colleagues in the fabric of their work, and both draw upon literature as an inspirational source. Both, moreover, love the miniature as an expressive form; short pieces by Kurtág and Holliger are interwoven. Holliger’s sequence Airs (2015/6) is inspired by seven texts by Swiss poet Philippe Jaccottet, whose voice is heard here. The release of "Zwiegespräche" is timely. Heinz Holliger turns 80 on May 21, his creativity as composer and his resourcefulness as instrumentalist undimmed. The album concludes with Holliger’s Sonate für Oboe solo, composed in 1956, and still played by its author with absolute authority. © ECM Records
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Klassiek - Verschenen op 24 mei 2019 | Arcana

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Francesco Landini was the most famous Florentine Trecento composer, known to being a multi-instrumentalist, notably a virtuoso on the organ. As known, he lost his sight at the age of 7 but, despite his disability, he excelled in the study of music and all liberal arts.Might the condition of blindness have affected the poetic production of Landini? LaReverdie together with Christophe Deslignes, investigate this hypothesis, with a new project that presents both well known masterpieces and pieces never recorded before, searching signs that might be eventually impressed in the verses and the music of Magister Coecus by the loss of his sight. The reference to the eyes from literary topos becomes in many Landini’s texts a melancholic poetic expedient to express the distance, the absence or the loss of the beloved woman, that only “the heart’s eye” (L’Occhio del Cor) is able to imagine. A project which fills the recent recording void on a fundamental author at the sunset of the Middle Ages, reread through a perspective never explored until now. A passionate work on the strict bond between poetry and music, well explained by Davide Daolmi, is associated to a necessary musicological research about sources. © Arcana
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Piano solo - Verschenen op 17 mei 2019 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Symfonieën - Verschenen op 10 mei 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 10 mei 2019 | Ondine

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
After a cycle of Beethoven Piano Concertos, solo albums of works by Bach and Schubert in addition to a number of award-winning recordings of piano chamber music on Ondine label, pianist Lars Vogt releases an album of Sonatas by Wolfgang Amadeus Mozart (1756–1791). In this album, two baroque-influenced and virtuosic early sonatas are coupled together with a touching A minor Sonata K. 310 – written at the time of the composer’s mother’s death – and a delightful, Haydnesque Sonata K. 333. Mozart wrote Piano Sonatas K. 280 and K. 281 (Nos. 2 & 3) most likely in 1774, at the age of 18. The elements of Baroque influence are clearly evident in the K. 280 Sonata. A prominent feature in the K. 281 Sonata is, besides its virtuosity, the beautiful slow-movement, “Andante amoroso”. The K. 310 Sonata (No. 8) was written four years later, during the summer of 1778, and is written in a minor key: a rarity among Mozart’s Sonatas. The K. 333 was published in 1784, but the time of its composition might have been earlier. This joyful work with virtuosic passages can be described almost as a Piano Concerto for the solo piano. © Ondine