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Vocale muziek (wereldlijk en religieus) - Verschijnt op 29 oktober 2021 | Channel Classics Records

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Concertmuziek - Verschenen op 24 september 2021 | Channel Classics Records

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For both classical musicians and classical musicians, it’s pretty hard to think of an upside to the past period of Covid-themed havoc. However if there is one positive thing that this terrible period will have bequeathed to us for posterity, it’s the number of superb recordings that would never have happened without all those sudden gaps in previously packed performance diaries, and with this harmonious pairing of Haydn and Stravinsky we have yet another. For those with an eye on the strings world, fast-rising Dutch violinist Rosanne Philippens is unlikely to be a new name. Not least thanks to her five previous albums for Channel Classics. However The Vondel Strings will be, because this is a brand new ensemble – comprised of fourteen top Dutch string players and harpsichordist David Jansen (brother of violinist Janine Jansen) – that Philippens had been dreaming of forming for years, before empty corona diaries provided the moment. As for its name, this references the fact that many of the ensemble’s musicians are former pupils of Coosje Wijzenbeek and Vera Beths – because ‘The Vondel’ is the name by which the house on Amsterdam’s Vondelstraat, where Beths has for many years lived and taught, has become known. On to the repertoire, and opening and closing the programme are Haydn’s Violin Concertos in D major and C major, with their bright, occasionally quirky classical elegance. Directed from the violin by Philippens, the Vondel Strings play with joyous warmth and nimbleness, precise articulation and neatly clipped phrasing, complementing Philippens’s own slender-toned combination of flowing grace and earthy pep; and while the author of the idiomatic yet engagingly creative cadenzas isn’t named, one assumes they’re Philippens’s own. Also worth pointing out is that the C major’s crowd-pleasing central Adagio here is a beauty. First, for the ensemble warmth of its initial rising tutti phrase’s gradual flowering, and for the silky smoothness of Philippens’s own long, slowly ascending line. Then, for the gentle intimacy of the interplay between Philippens’s and Jansen’s subsequent duet, as he winds his countermelody around her own poetry. Then, to complement that Classical fare, the four-movement suite Stravinsky crafted from his exquisite Neo-Classical ballet of 1928, Le Baiser de la fée (The Fairy’s Kiss), in a gracefully sparkling new arrangement for violin and strings by James Ledger. To this, Philippens and the ensemble bring translucent textures, and deftly organic and colourful handling of the music’s sudden textural, timbral and dynamic contrasts. For a highlight, head to the Danses Suisses, which channels the ensemble precision and earthy pep heard already in the Haydn into some fabulously sharply defined rhythmic bounce, with an invigorating folk kick to its timbres. Philippens writes in the sleeve notes that it was to record this specific Haydn and Stravinsky repertoire that she wanted to form an ensemble to play and direct in the first place. I hope, though, that this won’t be the last we hear from them. © Charlotte Gardner/Qobuz
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Klassiek - Verschenen op 27 augustus 2021 | Channel Classics Records

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Anna Fedorova is at home in the Romantic period, she knows it’s repertoire inside out and has proven this several times. In addition to previous recordings of Liszt, Schumann or Scriabin, she shines especially with Russian composers such as Rachmaninoff and as a Youtube star, her interpretation of his 2nd Piano Concerto has more than 30 million clicks,  and Chopin is also no blank slate for her. Already in her albums Four Fantasies (2018) and Storyteller (2019), both released on Channel Classics, she pays tribute to the Polish-French composer, devoting herself to his ballads as well as fantasies, among other works. In Shaping Chopin, she now devotes herself fully to his most famous genres and conjures up an extensive program for us with a selection of his most beautiful mazurkas, waltzes, nocturnes as well as fantasies on record.Live concerts in 2021 unfortunately remain relatively quiet, but instead we experience a real flowering of lockdown albums recorded in the previous year. For Anna Fedorova, it was Chopin who accompanied her during this period and whom she re-met in a new way. Already in the first piece Grande Valse Brillante Op.18 the name speaks for itself. Fedorova interprets the piece in an extremely fast tempo, but this does not detract at all from the waltz itself. Due to her extremely precise keystrokes as well as her, already repeatedly praised, amazing technical skills, the dances seem like child's play for her. The same applies to the following Waltzes Op. 34, Op. 42 and Op. 64, which she expresses with a dancing lightness and at the same time, with extremely strong and sensitive dynamics, however one does not exclude the other. This effect, on the other hand, diminishes somewhat in the two Nocturnes Op. 27. Here one would have wished for a little more calmness and time. The concluding Fantaisie-Impromptu in C-sharp minor, Op. 66, however, makes up for this. In an incredibly lively and energetic interpretation, she draws us back into her Romantic spell. Listeners are certainly getting their money's worth! © Lena Germann/Qobuz
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Divers - Verschenen op 11 juni 2021 | Channel Classics Records

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Founded in 1983 by Iván Fischer and the late pianist and conductor Zoltán Kocsis, the Budapest Festival Orchestra quickly became one of the world's more prominent orchestras. The handpicked young virtuosos who fill its ranks produce a beautiful sound and superior ensemble performances. Supported from the outset by the City of Budapest and the Hungarian Ministry of Culture, it quickly made a name for itself by attracting top conductors and soloists, and thanks to its proactive policy of recording and touring internationally.Following the examples set by István Kertész and Claudio Abbado in their respective complete recordings, Iván Fischer presents a Serenade alongside his recording of the Symphony No. 3 . The Serenades, which were the young Brahms's first works for orchestra, represent a very assured piece of work, where wind instruments are foregrounded against an often pastoral backdrop, accented with hints of folk music. The First is written for a large orchestra, and the Second, dedicated to Clara Schumann and present on this album, was written for a chamber orchestra without violins.The closeness of the young Brahms to the Schumanns is still very evident in the opening theme of the Third Symphony, which sounds like a slightly modified echo of the beginning of Robert Schumann's 'Rhenish' Symphony, something that few commentators have really remarked upon. Iván Fischer gives a rather melancholic reading of the Symphony No. 3, particularly the Poco allegretto which has been made popular in cinema and song, most notably by Yves Montand and Serge Gainsbourg. The final Allegro, on the other hand, launches into joyous tumult and ardour. It seems unstoppable, and then dissolves into thin air, as this splendid symphony closes in a disconcerting pianissimo that is very rare for a romantic symphony.This recording concludes Montana the complete recordings of Brahms's symphonies by Iván Fischer and the Hungarian orchestra, of which he has been artistic director since its debut in 1983. Golden colours and an Austro-Hungarian style that fits Brahms perfectly combine to make this a most exciting series. © François Hudry/Qobuz
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Klassiek - Verschenen op 28 mei 2021 | Channel Classics Records

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Klassiek - Verschenen op 7 mei 2021 | Channel Classics Records

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Klassiek - Verschenen op 26 maart 2021 | Channel Classics Records

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Think of the uncompleted fragments Mozart left behind at his premature death in 1791, and the Requiem is probably the one that springs most easily to mind. However Mozart also left a significant body of unfinished concerti, chamber and piano solo music, and it's four violin and piano fragments that form the basis of this programme from Baroque violinist Rachel Podger with Christopher Glynn: three sonata Allegros in B-flat major, A major and G major, plus a Fantasia in C minor, all dating from Mozart's final decade in Vienna (that's to say, when the violin sonata had developed from its beginnings as what was effectively a piano sonata with violin colour, to a true partnership of equals) and now completed by Royal Academy of Music Deputy Principal Timothy Jones. As for Jones's approach, given that these completions are part of a wider project to use these fragments to improve our understanding of Mozart's music as a whole, he has used them to test out some hypotheses about Mozart's working methods and the evolution of his style: what would happen if he wrote fast; paid attention to the immediate stylistic context of each fragment; kept to each fragment's stylistic principles, but while continuously inventing rather than repeating (because Mozart never repeats himself). Each fragment has been completed multiple times, each testing a different hypothesis, and what has then ended up on this recording are two contrasting options for each of the sonata movements, along with the first of his completions of the Fantasia. This might sound a bit heavy-going if musicological academia is not your thing. But read on, because the good news is that whether musicology gets your pulse racing or has you breaking out in a cold sweat, the bottom line is that this is essentially just good music, beautifully played. From Podger, these are elegantly shaped, cleanly defined and unfussily natural readings, and she's been closely partnered by Glynn on the fortepiano with equally deft articulation and a jewel-like tone that makes his fastest passagework especially lovely. What's more, it's been programmed to sound like a concert rather than a comparative exercise, so rather than each sonata fragment's pair of completions having been placed side by side, they've instead been divided across two groups, separated by the Fantasia. So certainly this is one for Mozart lovers as much as musicological detectives; although once you've familiarised yourselves with the melodic material, you may actually find your appetite growing for some comparative hopping around on your own. Essentially though, there's something for listeners of all shapes here. © Charlotte Gardner/Qobuz
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Klassiek - Verschenen op 19 februari 2021 | Channel Classics Records

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Klassiek - Verschenen op 5 februari 2021 | Channel Classics Records

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The Channel Classics label is patiently continuing its exploration of the work of Johann Sebastian Bach. One of the first stages of this project was the Pieter Wispelwey's famous version of the Cello Suites in the early 1990s. In the course of collaborations with his artists, the label's producer, Jared Sacks, offered all the Cantor's major chamber music cycles, such as the Sonatas and Partitas for solo violin with Rachel Podger, or the Sonatas for harpsichord and violin, with Podger again, and Trevor Pinnock on keyboard.In the meantime, Rachel Podger suggested her own vision of Suites for Cello Solo, on violin. For now, it is the turn of another important Bach corpus, the Sonatas for harpsichord and viola da gamba. The original offering by violist Marie Stockmarr Becker and harpsichordist Ilaria Macedonio presents an inspired and radiant vision. It is original, because the viola da gamba here becomes an alto viola ("viola da braccio"), another tessitura close to the human voice.It is a particularly convincing vision, in which the two musicians stand out for their mutual understanding, their ample gestures and their fluid breathing, recalling at times the very old version by Wieland Kuijken and Gustav Leonhardt, with splendid phrasing (deutsche harmonia mundi). It's magnificent in any case: this new Channel release is highly recommended. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 22 januari 2021 | Channel Classics Records

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Klassiek - Verschenen op 9 oktober 2020 | Channel Classics Records

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This recording offers a fine sampling of music from the USA for military band, and illustrates this typical, multicoloured American amalgam of folk music, religious hymns, jazz, blues, marches and other military music. The music roll employed on the final track of this album is a registration of George Gershwin's own playing. © Channel Classics
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Klassiek - Verschenen op 25 september 2020 | Channel Classics Records

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Klassiek - Verschenen op 4 september 2020 | Channel Classics Records

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Founded in 1983 by Iván Fischer and Zoltán Kocsis, the Budapest Festival Orchestra has quickly cemented itself as one of the best formations in the world thanks to an exceptional ensemble of soloists, its cohesion and a particular warmth in its string sections. Numerous recordings have come to confirm their reputation of holding a extremely vast repertoire which dominates the works of Bartók, Kodály and Dvořák. It must now fight for its existence in the midst of considerable cuts imposed by the Hungarian government whose political ideas are opposed to those of the conductor and his musicians.Recorded in 2017 at the Palais des Arts in Budapest after a series of concerts, this new version of The Song of the Earth by Gustav Mahler gets off to a striking start with an almost telluric force. The power and fragility of the tenor Robert Dean Smith is paradoxically moving when faced with the amplitude of the timbre and eloquent, authentic voice of the alto Gerhild Romberger, who's singing is accurate and homogenous across all registers.At the podium, Iván Fischer sends forth the best of his imagination and a sense of subtlety by literally sculpting each lied until the deeply moving Abschied (“Adieu”) finale in which the tormented harmony opens a door to nothingness, in an almost serial atmosphere where the air becomes scarce. A great interpretation. © François Hudry/Qobuz
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Klassiek - Verschenen op 4 september 2020 | Channel Classics Records

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A rare synergy emerges when the unique lyricism of Channel Classics trumpeter Wim Van Hasselt is combined with the boundless creativity of percussionist Koen Plaetinck. Inspired while recording as joint soloists with the Budapest Festival Orchestra, these former student-colleagues and soul-mates resolved to form a musical duo. A limitless faith in each other's musical ability, an unconditional mutual respect, and a friendship of many years join to form an exceptional symbiosis with a single, unequivocal, shared conviction: authenticity, beauty and creativity must be the sole objective. As a counterweight to the sometimes fleeting and trivial professional daily tasks, the project has one all-embracing motivation: a search for depth, and the experience of a creative process that fuses uncompromised music-making, authenticity and renewal. In dialogue with various carefully-selected composers and visual artists, while exploring all the limits of their extensive instrumental inventory, they passionately recount their personal story. Imaginary Mirror, equipped with a variety of trumpets, a ridiculous array of percussion instruments, and far too many electronics, Wim Van Hasselt and Koen Plaetinck combine to create an entirely new musical space. Presenting brand-new commissions as well as arrangements, they stretch the boundaries of classical music into a unique world of sounds and visuals, infused with traditional music, electro-underground, improvisation and - above all - their own vivid personalities. What if dreaming became reality? The imaginary tangible? When living a fairy-tale the fantastic is the concrete... Inspired by the electrifying philosophy of the Surrealists from the roaring 20's, they create a stage full of thoughts - in place of stories - their music literally surrounded by compelling visuals.They drown the audience in colour and sound.You will not need a manual.The beauty of music. Nothing less, nothing more? © Channel Classics
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Klassiek - Verschenen op 19 juni 2020 | Channel Classics Records

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Klassiek - Verschenen op 24 april 2020 | Channel Classics Records

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Klassiek - Verschenen op 27 maart 2020 | Channel Classics Records

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In 2002 Florilegium became involved with Bolivian Baroque and since 2003 Ashley has been training vocalists and instrumentalists there. Initially solo singers, he formed Arakaen – dar Bolivia Choir in 2005. In 2008 Ashley was the first European to receive the prestigious Bolivian Hans Roth Prize, given to him in recognition of the enormous assistance he has given to the Bolivian indigenous people, their presence on the international stage and the promotion and preservation of this music. For the last 28 years of collaboration with Channel Classics my main inspiration for recording has always been repertoire, either to convey our individual interpretation of known pieces I am passionate about or to present otherwise unknown repertoire for the very first time. This recording, however, came about through a chance encounter with a remarkable private collection of flutes, held in Frankfurt. This collection includes several hundred historical flutes, spanning the history of the instrument from one of the earliest surviving 3-piece French flutes made by Chattillion in c.1680. Many of these are baroque and other one-keyed flutes and most of them have not been used in recordings before. The collection includes some of the finest examples of playable baroque flutes anywhere in instruments at the time of their manufacture. © Channel Classics
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Klassiek - Verschenen op 6 maart 2020 | Channel Classics Records

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Klassiek - Verschenen op 8 november 2019 | Channel Classics Records

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Anna Fedorova embraces the Russian and, more generally, romantic repertoires. Her performances with the Nodwestdeutsche Philharmonic Orchestra - given to the Great Hall of the royal Concertgebouw and watchable on her YouTube channel - prove it. The concertos by Tchaïkovski and Rachmaninoff, among others, show a passionate and talented musician of irrefutable technique. On the record, Anna Fedorova adopts the role of a storyteller, the name of her record, her second for the label Channel Classics Records. Her previous record, Four Fantaisies, had already embraced the power of the romantic imagination. Placed under the tutelage of Chopin, Liszt and Scriabin, the Ukrainian pianist acts like a poet making music out of stories. The ballads and sonnets are of epic charm and are sometimes danceable; they are often contemplative and are always filled with a strong poetic nature. The “pages” that Anna Fedorova has lifted from these three composers are episodes of great accomplishment where the piano acts as their herald. While the epic aspect of these works is particularly prevalent, the pianist by no means ignores the more poetic dimensions. For the Sonate No.4, Op.30 by Scriabin, she delivers a version that is both thrilling and fanatic. In less than 9 minutes of music, an entire new world is created (Andante) that unravels into a formidable storm (Prestissimo volando). Anna Fedorova owns this complex score: the melodies break out in surges of great clarity that listeners can delightedly move with. From Chopin to Scriabin, we are observers of a language that continually verges more and more on abstraction and harmonic invention all while witnessing the story of a musician’s development. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 8 november 2019 | Channel Classics Records

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