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Religieuze vocale muziek - Verschenen op 26 oktober 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
For his first album as a soloist, the Polish countertenor Jakub Józef Orliński chose to explore some of the rarest repertoires, to the point that several of the pieces presented here are world premieres. As a result, we are introduced to composers who are almost unknown today: Gaetano Schiassi (1698-1754), Domènec Terradellas (1711-1751) and Nicola Fago (1677-1745), alongside other composers who are famous today such as Hasse, Zelenka or Durante. Helped by the bass-baritone Yannis François, Orliński covers a large amount of time, from the end of the 17th century to the last third of the 18th century, though solely in the spiritual domain, with Masses, Dixit Dominus or sacred oratorios. That said, the vocal and instrumental writing borrows from baroque, with its vocalisations, its embellishments and its brightness. On top of this, the ensemble il pomo d'oro performs the work with great confidence. © SM/Qobuz
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Klassiek - Verschenen op 1 december 2014 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Jazz - Verschenen op 13 juni 2014 | ECM

Hi-Res Booklet Onderscheidingen Choc de Classica - Indispensable JAZZ NEWS
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Jazz - Verschenen op 19 januari 2018 | ECM

Hi-Res Booklet Onderscheidingen 3F de Télérama - Choc de Classica - 5 Sterne Fono Forum Jazz
Like every great instrument blower, John Surman has a sound you’ll recognize from the first breath. A sound which is as much fed by the culture of his British motherland (local folklore is one of the components of his music) as by the culture from other countries. The saxophonist and clarinetist has crossed paths with pianist Nelson Ayres—well-known by the fans of Brazilian jazz for his work with Airto Moreira and Milton Nascimento—during a tour in South America. And it’s in Oslo that he met the American vibraphonist Rob Waring, an expat in Scandinavia… With Invisible Threads, the three men gathered to perform a programme mostly composed of Surman’s original pieces, recorded in Oslo in July 2017, under the artistic supervision of Mr. ECM, Manfred Eicher. This program is like an ode to melodies that transcend dialects. Once again, John Surman unfolds very singular and beautiful narrations, parcels of internal joys that are almost melancholic, at the heart of which the improvisations are drunk like divine elixirs. This jazz is of course different. And as the saxophonist has been a resident at ECM for decades, he’s also one of the components of the sound of the label from Munich, now more than ever. © MD/Qobuz
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Moderne jazz - Verschenen op 2 februari 2012 | Laborie Jazz

Booklet Onderscheidingen TSF - Choc de Classica - Elu par Citizen Jazz - Découverte JAZZ NEWS - Qobuzism - Qobuz Referentie
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Jazz - Verschenen op 16 juni 2014 | Impulse!

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica - Sélection JAZZ NEWS
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€ 11,49

Kwartetten - Verschenen op 11 januari 2019 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 19 januari 2015 | Deutsche Grammophon (DG)

Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
€ 29,99

Klassiek - Verschenen op 16 oktober 2015 | Ligia

Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
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Jazz - Verschenen op 7 mei 2010 | ECM

Hi-Res Booklet Onderscheidingen Choc de Classica - Hi-Res Audio - Stereophile: Record To Die For
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Klassiek - Verschenen op 11 september 2015 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica
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Kamermuziek - Verschenen op 10 november 2017 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik
This is a gentle kind of duet, which sets up Cecilia Bartoli "opposite" cellist Sol Gabetta, if we can speak of "opposition". The two stars chose a few airs out of the baroque repertoire where the composers have included a part for cello, and the two lines intertwine against the backdrop of the continuo or the orchestra. Albinoni, Caldara, Haendel and many others have often married the cello's deep voice with the light, airy tones of the soprano in a game of mirrors, contrasts, and "he-loves-me-he-loves-me-not”... This highly original billing benefits not only from the duettists' clear talents, but also the involvement of the Capella Gabetta led by the violinist Andrés Gabetta - to be sure, in the duets of old it wasn't the done thing for other performers to get involved, but in this instance, it adds up to a perfect balance. It's certainly not the end of the world - or of this duet! This album, highly original, is one of September's nicest surprises.
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Klassiek - Verschenen op 15 januari 2016 | Deutsche Grammophon (DG)

Booklet Onderscheidingen Choc de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 23 oktober 2015 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 6 november 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
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Jazz - Verschenen op 8 september 2017 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica
One year on from Note from New York, Bill Charlap is digging into his deep-New-York identity with his brilliant Uptown Downtown. As discreet as he is refined, the pianist from the Big Apple has for years been working on transmitting and celebrating an eternal jazz. With him, you are guaranteed a flawless journey into the 1940s and 1950s. The Great American Songbook that shook the boards on Broadway and Hollywood cinema screens could find no greater ambassador. It is magic every time! Even on the most-covered standards like Sophisticated Lady that closes the album. Supported by a rhythm section worth its weight in gold (Peter Washington on the double bass and Kenny Washington on drums), Bill Charlap mixes a nectar of swing, a marvel of refinement and good taste. The heat coming off this sound is just so New York. This unique way of playing the melody. An art in itself. Art that demands humility and attention; experience and intuition. An approach that makes Charlap the heir apparent of a certain tradition of piano jazz, in which Hank Jones, Tommy Flanagan and Shirley Horn are essential figures (he knew all three), and likewise Teddy Wilson, Art Tatum, Ahmad Jamal or Sonny Clark... this is a record with mind-blowing class. © CM/Qobuz
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Klassiek - Verschenen op 19 mei 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
What was the context in which so great a masterpiece such as Monteverdi’s L’Orfeo could be born back in 1607, invested with such beauty, endowed with such profundity of expression and so perfect a structure, at a time when the operatic form was still in its infancy? These are precisely the questions that lie at the origin of this recording project, giving Pichon and his musicians the opportunity to discover the astonishing musico-dramatic productions that preceded L’Orfeo, notably those performed at the Medici court in Florence, in which one may discern the seeds of numerous elements to be found in L’Orfeo. At the turn of the 16th and 17th centuries, it was ovbviously the city of the Medici that was the main focus of one of the most fascinating moments in the history of music: the birth of opera. Concentrating on the years from 1589 to 1611, i.e. the premiere of the intermedi for theatre piece called La pellegrina at one end and the performance in Florence of Marco da Gagliano’s Dafne at the other, Pichon has devised four imaginary “interludes” – inspired by the form of the intermedio so popular at this period – in which he assembled some of the finest examples of the first stirrings of opera, the music pieces of which are signed Lorenzo Allegri, Antonio Brunelli, Giovanni Battista Buonamente, Giulio Caccini, Emilio de’ Cavalieri, Girolamo Fantini, Marco da Gagliano, Cristofano Malvezzi, Luca Marenzio, Alessandro Orologio, Jacopo Peri and Alessandro Striggio. In imitation of the ancient theatre, intermedi were entertainments inserted between the acts of plays, with sumptuous visual effects, which provided a pretext for allegories to the glory of the reigning dynasty. The place of music and the fantastic element in theatrical performances acquired an ever grander and more spectacular character, thanks notably to the genius of set designers and the progress made in the domain of stage machinery. Seeing the artistic and political potential of the genre, the powerful princely families of the northern half of Italy (Gonzagas, Este and Medici, as well as the papal court), encouraged its development. Intermedi ended up occupying so important a place that they became a show within the show, with the aim of dazzling the audience. It was in 1589 that the Florentine tradition of intermedi attained its zenith, with the six sumptuous entertainments devised by Count Bardi to accompany the comedy La pellegrina, performed on the occasion of the wedding of Grand Duke Ferdinando I and Princess Christina of Lorraine, grand-daughter of Catarina de’ Medici. In their variety and novelty, with a balanced combination of polyphony and the nascent monody, not forgetting instrumental and dance music, the intermedi of 1589 opened the way for an integrally sung form of theatre. And indeed it was once again Florence that witnessed the first examples of the Gesamtkunstwerk, the perfect model of the alliance between poetry and music. At the turn of the 16th and 17th centuries, a veritable laboratory was set up in Florence, prompting poets and composers to bring together several forms of musical expression in a single place? Building on the models established by earlier generations, composers continued their experiments with sound-space and the spatialisation of music, what with the proliferation of echo effects in the early monodies, or madrigals featuring dialogues between as many as seven independent choirs. But how can one tell this story nowadays, revive this rich adventure? The solution chosen for this recording was to create from scratch a large-scale imaginary work, resembling an initiatory journey, that would weld these multiple works into a single whole.
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Concertmuziek - Verschenen op 4 november 2014 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Exceptional sound
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Klassiek - Verschenen op 20 mei 2011 | Sony Classical

Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 16 september 2016 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen 5 de Diapason - Pianiste Maestro - Choc de Classica - Qobuzism