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Solo Piano - Released September 11, 2015 | Sony Classical

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Chamber Music - Released August 17, 2018 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
What do you mean, “Six evolutions”? It’s an intriguing title, almost esoteric… The cellist Yo-Yo Ma, who needs no introduction after a worldwide career of some fifty years, pens here his third (and ultimate, according to him) recording of Bach’s Solo Cello Suites. The first, while he was in his twenties, gave rise to enthusiasm, the second—in his forties—gave rise to emotion, so what will this final vision give rise to, now that he is in his late sixties? Serenity and joy, probably, and the completion of a triple discographic evolution. That being said, we still cannot explain the “Six evolutions”, and you will have to dive into a small corner of the accompanying booklet to find an indication, giving little more information, it is true, since it comes with no clarification: 1) Nature is at play, 2) Journey toward the light, 3) Celebration, 4) Construction/Development, 5) The struggle for hope, and 6) Epiphany. Well… Whatever it be, and despite what he said—and the amazing quality of this interpretation—let’s meet in 2038 to find out if he doesn’t decide to give a new interpretation in his eighties! © SM/Qobuz
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Solo Piano - Released September 7, 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Concertos - Released September 25, 2015 | Alpha

Booklet Distinctions Diapason d'or - 4 étoiles Classica
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Classical - Released March 26, 2021 | Phi

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New recordings. After a widely acclaimed St. John Passion in 2020, Philippe Herreweghe and his Collegium Vocale Gent continue their in-depth exploration of the works of the composer who has earned them worldwide fame. Of the two cantatas recorded here, Es ist dir gesagt, Mensch, was gut ist BWV 45, written in 1726, is built around a very virtuosic, almost operatic bass solo setting scriptural words of Christ. Laß, Fürstin, laß noch einen Strahl, BWV 198, which dates from the following year, was composed for the funeral of Christiane Eberhardine, Electress of Saxony and titular Queen of Poland, the daughter of the Margrave of Brandenburg-Bayreuth and an ardent Lutheran, whose death had deeply affected the people of Leipzig. These works are accompanied by the soothing, luminous motet O Jesu Christ, meins Lebens Licht (BWV118), also composed for a funeral service in 1736 or 1737. © Phi
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Classical - Released January 29, 2021 | Warner Classics

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There is no hint of historically oriented performance here as pianist Piotr Anderszewski performs pieces, half of them to be exact from Book II of Bach's Well-Tempered Clavier, BWV 870-893, in a way that apparently no other keyboardist, modern or historical, has ever done. There are various surprises in Anderszewski's interpretation, but the big one is that he departs from Bach's published order. He is straightforward about what he is doing, asserting in the notes that "it seems to me that [the published order] is not one in which the pieces follow each other with an emotional, musical inevitability." Anderszewski supplies his own ordering, which leaves the C major prelude and fugue (but not the C minor) at the beginning and the B major and minor pieces at the end. In between are pairs in fourth- and third-related keys, building toward a somberly slow Fugue in G sharp minor. The idea makes sense on its own terms, and Anderszewski could cite in his favor that some of these pieces were probably written much earlier than others and were roped by Bach into the final set; he didn't sit down and write them out in sequence. Anderszewski's execution is both rigorous and attractive. He perceives the works as "character pieces" and "realised the particular importance of giving each theme of each fugue a specific character." These are carried through the fugues with impressive consistency and control. Throughout, Anderszewski keeps his piano to chamber dimensions, and the variety with the overall quiet dynamic levels becomes quite absorbing. The downside is that although Bach reworked his compositions in many ways, he never did so in anything like this way, and, with a composer as systematically minded as Bach, one hesitates to fool with basic structures. Taken on its terms, however, Anderszewski's performance succeeds. © TiVo
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Classical - Released November 13, 2020 | Signum Records

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Classical - Released March 20, 2020 | PentaTone

Hi-Res Booklet Distinctions 5 de Diapason
Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development. Francesco Corti and il pomo d’oro present Concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums. Corti has chosen to combine these four concertos for the full orchestral sound they call for, while later recordings in this series will have a chamber setting in comparison. For tempo choices and melodic variations, Corti has been inspired by treatises from Bach’s time, as well as the composer’s own written-out ornamentations. © Pentatone
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Classical - Released March 22, 2019 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
Bach to the Future gained considerable publicity from being the last recording made on the 1868 Cavaillé-Coll organ at Notre-Dame cathedral before the devastating fire of 2019. It might just as well, however, have become renowned if there had been no fire: it is one of the most exciting organ releases of recent years. Organist Olivier Latry became titulaire des grands orgues at Notre-Dame in 1985, when he was just 23, but he has lost none of his youthful brashness, indicated perhaps by the album's punning title. Latry explains his ideas in an interesting an readable accompanying note. More than in any other genre of classical music, a performance of an organ work is an interpretation by the player, who shapes its basic textures. Latry takes this idea and develops it, using stops that did not exist in Bach's time. Furthermore, he has familiarized himself with arrangements of Bach's organ works made for other media, including Leopold Stokowski's crowd-pleasing orchestral version of the Toccata and fugue in D minor, BWV 565, and Liszt's version of the Fantasy and Fugue, BWV 542 (presented here as two separate tracks, for Latry is unconvinced that they were meant as a unit). Latry incorporates sonorities of these into his organ performances; sample the blazing Toccata and fugue, a real thrill that, like everything else on the album, is recorded to the hilt. The result is an organ album of almost unprecedented textural breadth and brilliance. Latry has other unusual ideas, such as the organ performance of the six-part ricercar from the Musical Offering, BWV 1079, at the beginning, plunging the listener into a murky world of complexity, and the narrative treatment of the Passacaglia and fugue in C minor, BWV 582. Yet more is there for the listener to discover, all of it part of the story of the great Notre-Dame organ that will, thankfully, be ongoing. © TiVo
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Masses, Passions, Requiems - Released October 7, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Chamber Music - Released September 21, 2018 | Arcana

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique
Following its highly acclaimed album featuring the three most richly scored Ouvertures (Gramophone Editor͛s Choice – shortlisted for the 2017 Gramophone Awards and included among the Top 10 recent Bach recordings), Zefiro comes full circle with the famous collection of Concerts avec plusieurs instruments, that kaleidoscope of colours that seems almost tailor-made to highlight the salient qualities of the ensemble founded by the three historical wind specialists Alfredo Bernardini, Paolo and Alberto Grazzi. Thanks to experience gained in countless performances and recordings with the leading conductors and ensembles, but also to thorough research into the most appropriate instruments and pitch (398 Hz, i.e. the ‘authentic' French pitch), this brand new recording exudes liveliness, flair and knowledge, and features some of the greatest names on the Baroque music scene, among them Cecilia Bernardini, Gabriele Cassone, Francesco Corti, Lorenz Duftschmid, Marcello Gatti, Gaetano Nasillo and Dorothee Oberlinger. Also included is the more intimate B minor Suite with flute (BWV 1067), thus filling the gap left by the earlier recording. © Arcana
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Choral Music (Choirs) - Released January 1, 2001 | Warner Classics

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Violin Solos - Released September 8, 2017 | Ondine

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik
Of course, since years Bach’s Sonatas and Partitas for solo violin have been recorded over and over again, including by world’s best and most prestigious solists. But when violinist Christian Tetzlaff releases a brand new recording, we can only say: “Friends, countrymen, lend Qobuz your ears”. Concerts with Christian Tetzlaff often become an existential experience for interpreter and audience alike; old familiar works suddenly appear in an entirely new light, also – of course – within the frame of a new studio recording such as this one. Essential to Tetzlaff’s approach are the courage to take risks, technical brilliance, openness and alertness to life. Such an interpretation becomes a real challenge for the aficionado and guarantees a brilliant musical adventure.
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Chamber Music - Released June 8, 2018 | Alpha

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Choc de Classica
This is not the place for yet another disquisition on the widespread baroque practice of transcribing works: Bach was no stranger to it himself, to say nothing of Handel, who plagiarised himself over and over; and this album gives us the Cantor transcribing the Cantor. In this instance we are looking at the Fifth Suite in C Minor for cello, which he re-wrote for the lute. Taking his lead from the composer, lutist Thomas Dunford has done the same to the First Suite for cello, and revised it for his instrument. Obviously, the music seems renewed, elucidated in many different ways: the styles, the reverberations, the harmonies, the counterpoints all develop differently, but we are still hearing original Bach: it's just that its richness is distributed differently in our ears. Dunford offers us a generous "B-side" in the form of a transcription of the Chaconne taken from the Suite for Solo Violin in D Minor, another superb exercise in reconsidering balances while respecting the letter of the music. It remains astounding what one can do with Bach, without ever betraying the spirit of his works. © SM/Qobuz
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Rock - Released November 18, 2016 | Rhino

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The group's second album, with Anderson (vocals, flute, acoustic guitars, keyboards, balalaika), Martin Barre (electric guitar, flute), Clive Bunker (drums), and Glen Cornick (bass), solidified the group's sound. There is still an element of blues, but except for "A New Day Yesterday," it is far more muted than on their first album, as Mick Abrahams' blues stylings are largely absent from Martin Barre's playing. The influence of folk music also began to manifest itself ("Look Into the Sun"). The instrumental "Bouree," which could've been an early Blood, Sweat & Tears track, became a favorite concert number, although at this point Anderson's flute playing on-stage needed a lot of work; by his own admission, he just wasn't that good. Bassist Cornick would last through only one more album, but he gets his best moments here, on "Bouree." As a story song with opaque lyrics and jarring tempo changes, "Back to the Family" is the forerunner to Thick as a Brick. The only major flaw in this album is the mix, which divides the electric and acoustic instruments and fails to find a solid center. The LP comes with a "pop-up" jacket interior. © Bruce Eder /TiVo
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Choirs (sacred) - Released May 26, 2011 | Phi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Exceptional Sound Recording - Hi-Res Audio
In this exemplary recording of six Bach motets Philippe Herreweghe leads Collegium Vocale Ghent (an ensemble that includes both singers and instrumentalists) and ten soloists in performances of exceptional finesse and elegance. That's no easy task given the dense contrapuntal textures that characterizes several of the motets written for double chorus and orchestra. It takes great skill to keep the music, in a movement like the opening to "Singet dem Herr ein neues Lied," from turning into a murky undifferentiated stew of busyness, but Herreweghe keeps the sound open and varied. One crucial element is the absolutely pristine intonation and pure tone of the singers, which makes the harmonies clear and distinct. Herreweghe's graceful shaping of the phrases creates the sense of overlapping waves rising and falling rather than a monolithic wall of sound. The choruses' discipline in their precise observance of producing matching vowels is another factor that allows the intricacies of the music to come across as clean and well-defined. Although it is scored it for the same forces, in Komm, Jesu, komm Bach works with gleaming, transparent textures, where the felicities of Herreweghe's leadership and the refinement of the soloists, choruses, and orchestra are even more clearly in evidence. His attention to the emotional content of the piece gives the music a powerfully yearning warmth that, in spite of the large number of performers, feels intensely intimate. The engineers deserve much credit for creating such a carefully balanced aural environment, where details pop with amazing clarity and the sound is at the same time warm and enveloping. This is a release best experienced on a sound system that provides optimal separation and definition. Highly recommended; these are performances that should delight and dazzle fans of Baroque choral music. © TiVo
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Concertos - Released November 8, 2011 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Hi-Res Audio
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Classical - Released March 13, 2000 | Deutsche Grammophon (DG)

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Classical - Released March 19, 2021 | naïve classique

Hi-Res Booklet
As Esteban Hernández Castello explains in the accompanying booklet: "This enables us to range through the whole gamut of musical languages the composer employed, from the simplest to the most elaborate, including – and why not – pieces whose attribution is still uncertain". In Rinaldo Alessandrini’s playing we again encounter the unpretentious elegance that is his hallmark, his attention to detail and nuance, and the radiant thoughtfulness he bestows on the polyphony – qualities that have been refined over the years by his work with Concerto Italiano and his intensive cultivation of the vocal repertoire. © naive classique
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Classical - Released February 12, 2021 | Audax Records

Hi-Res Booklet Distinctions Diapason d'or
Johann Sebastian Bach excelled as a player on several instruments, but the lute was not one of them. Even today, this renders his works for solo lute unique in the instrument’s vast repertoire where playing the lute has otherwise been a prerequistite to composing for it. As such, they pose unique challenges and dilemmas for players who want to present this music in the best light. Inspired by his teacher, Rolf Lislevand, Jadran Duncumb eschews the well-thumbed pages of Bach’s own manuscripts and sets out on a different path. Instead, following manuscripts by lutenists contemporary with Bach that take advantage of the instrument’s inherent strengths, he arrives at startling new conclusions. © Audax Records