Albums

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Classical - Released January 11, 2019 | Mirare

Hi-Res Booklet Distinctions 4F de Télérama
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Solo Piano - Released September 14, 2018 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Choc de Classica
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Duets - Released January 26, 2018 | Mirare

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama
The Hantaï brothers – Marc on traverso and Pierre on the harpsichord – give us here everything Bach “really” composed for flute and harpsichord, as some possible falsely attributed works are not featured here. Compared to the violin – which counts six sonatas and partitas for solo violin and six sonatas for violin and obbligato harpsichord – the transverse flute may look like the forgotten sibling in the Kantor’s works. But at the time the transverse flute was still a very recent instrument, that had just come (back) from France (where it was called the “German flute”) and Bach only started using it in his cantatas around 1721-1722, and therefore only had a very limited dedicated repertoire. These four sonatas are anything but a collection. Two are missing to reach the sacred number of six. Furthermore, they were composed over a period of twenty years. And while one may be tempted to confer them the balance and symmetry desired by the arranger – two sonatas with obbligato harpsichord (BWV1034 and 1035), two with basso continuo (1030 and 1032), two in minor, two in major, two in three movements, two in four, two in E, and two fifths ascending or descending from this central E, etc. –, all of it might be merely fortuitous; they are rather a “blended” family. However these works for flute have in common the fact of being clouded by great uncertainty – whether it is about their chronology, the date of composition, the intended recipient, their form, their main instrumentation, their creation… So all is left for the listener is to experience them, performed here on a flute made by Joannes Hyacinth Rottenburgh (first half of the 18th century) from Brussels, and a harpsichord after Mietke (Berlin) made in 1702. © SM/Qobuz
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Trios - Released December 1, 2017 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Choc de Classica
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Duets - Released October 13, 2017 | Mirare

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Solo Piano - Released September 8, 2017 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
This album from the pianist Luis Fernando Pérez (a student of Dimitri Bashkirov, Alicia de Larrocha and Pierre-Laurent Aimard) includes the entirety of the Cançons i Danses, or at least the ones intended for piano. Mompou composed fifteen of them, of which the thirteenth is for guitar and the fifteenth is for organ. The composition dates of these works range from 1921 to 1961 for the first twelve, while the fourteenth dates from 1978, created at the Lincoln Center in New York for the composer’s 85th birthday. Scènes d ́enfants, one of the jewels from his catalog, and one of his most renowned works, was created between 1915 and 1918, in other words at the start of his creative years. Although “Iberianising”, if you forgive our use of this term, Mompou didn’t like to be referred to as a nationalist composer, preferring the term regionalist. “Not really knowing the true style of my music,” he said, “I’ve been classified as an exclusively folkloric composer, against which I had to express my disapprobation many times. My only arrogance is to believe that I managed to create an ethnic sounding music, without falling into the trap and excess of popular themes.” Luis Fernando Pérez is a regular of prestigious festivals such as Schleswig-Holstein, La Roque d'Anthéron, Richter in La Grange de Meslay, Jacobins in Toulouse, Santander and Granada, the Musical Fortnight in Donosti and Musika-Musica of Bilbao. He has been a soloist for the Symphony Orchestra of Barcelona and National of Catalonia, Real Filharmonía of Galicia, Symphony of Bilbao, Symphony of the Principality of Asturias, Orchestral Ensemble of Paris and Kanazawa, Symphony Warsaw, Symphony of Euskadi, the RTVE Symphony, the Franz Liszt Chamber Orchestra of Budapest and the Mannheim Chamber Orchestra, and also the National Orchestra of Spain.
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Chamber Music - Released February 3, 2017 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Choc de Classica - Choc Classica de l'année
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Quintets - Released November 12, 2015 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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Quartets - Released October 15, 2015 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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Classical - Released October 2, 2015 | Mirare

Hi-Res Booklet Distinctions 4F de Télérama - Gramophone Editor's Choice
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Masses, Passions, Requiems - Released March 23, 2015 | Mirare

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama
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Chamber Music - Released September 22, 2014 | Mirare

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Exceptional sound
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Classical - Released September 23, 2013 | Mirare

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - 4 étoiles de Classica - Hi-Res Audio
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Classical - Released March 11, 2013 | Mirare

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Hi-Res Audio
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Sacred Vocal Music - Released January 21, 2010 | Mirare

Distinctions 5 de Diapason - 4F de Télérama
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Classical - Released September 2, 2008 | Mirare

Distinctions 4F de Télérama
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Full Operas - Released April 24, 2008 | Mirare

Distinctions 5 de Diapason - 4 étoiles du Monde de la Musique - 4F de Télérama
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Chamber Music - Released January 30, 2004 | Mirare

Distinctions 4F de Télérama - Choc de Classica
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Chamber Music - Released November 21, 2003 | Mirare

Distinctions Diapason d'or - 4F de Télérama - Choc de Classica
Beautifully packaged, warmly recorded, and stylishly played, Pierre Hantai's performance of Bach's Goldberg Variations are everywhere very good but nowhere quite great. Hantai's technique is superb, with wonderful articulation and a lovely sense of phrasing, and he's clearly thought through his interpretation. Each variation is well characterized, the canons are clear and lucid, and Hantai shapes the whole work as a series of structural arcs climaxing in the catharsis and release of the final variations and the theme's return. But as fine as Hantai's performance is, it never quite touches the infinite. The performance is brilliantly performed, but it does not plumb the intellectual, emotional, or spiritual depths of the music. Hantai's performance convinces, but it does not compel.
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Chamber Music - Released November 28, 2002 | Mirare

Distinctions 5 de Diapason - Choc du Monde de la Musique - 10 de Répertoire - 4F de Télérama - Joker de Crescendo