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Solo Piano - Released September 20, 2019 | SOMM Recordings

Hi-Res Booklet Distinctions 5 de Diapason
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Violin Concertos - Released October 26, 2018 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique
To say that the concerto was one of Haydn's favourite forms would be a bit much, daft even. The man wrote a good hundred symphonies, dozens of quartets, trios, piano sonatas, fifteen or so masses and as many operas, and oratorios... Currently we know of three violin concertos (others being lost or apocryphal), two cello concertos (others... see above), one horn concerto, one for trumpet (there are no others) and at most about ten concertos for piano. Musically, they are fascinating works, but the level of technical skill they demand runs from moderate to a bit tricky. But the First Cello Concerto is not without its moments of difficulty, such as the rapid high notes in the final movement, and it offers some real fireworks. It should also be noted that most of the concertos were written for Esterházy, specifically for the first soloists in the house orchestra of Konzertmeister Luigi Tomasini and first cellist Joseph Weigl. The orchestral accompaniments offered the soloists some fine backdrops: in particular in the second movement of the Concerto for violin in C Major , with the orchestra's string section accompanying the solo violin with a sort of lute-playing that becomes a kind of serenade à la Don Giovanni. Amandine Beyer takes up the violin for this recording, while Marco Ceccato deals with the cello solo – both members of the Gli Incogniti ensemble ("The Unknowns"), a fluid grouping that plays without a conductor. Their leaderless style means that the musicians all listen to one another: it's a lovely way of making music (and sadly rare in the world of orchestras). © SM/Qobuz
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Quintets - Released May 26, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année
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Classical - Released February 3, 2017 | Aparté

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At the court of Versailles, the daughters of Louis XV (referred to as 'Mesdames'), and in particular Adélaïde, devoted themselves to a regular practice of music and, apparently, demonstrated talent. Numerous composers (Simon, Rameau, Balbastre, Cardonne, Guignon) played for them, worked with them, and dedicated several works to them. 'À Madame', Divertissement pour Adélaïde, is an anthology, subjectively put together, of compositions that resounded in their drawing room. All the works on this programme are world premieres. These lovely, rare nuggets are mixed with a few unusual sonorities of marvellous carillons of the Marc-Antoine Le Nepveu clock (currently in the Cabinet de la Méridienne, located at the heart of the palace, on the first floor). The recording, made in the Grand Cabinet de Madame Victoire at Versailles and featuring two precious historical instruments from the palace's collections, faithfully reproduces the forgotten beauties of the Age of Enlightenment. An original invitation to travel back in time, as testimony to a musical afternoon at Versailles in the company of Mesdames.
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Classical - Released January 8, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica
Kristian Bezuidenhout's cycle of Mozart's complete keyboard music concludes with this double album, which contains some real rarities that are ideally suited to Bezuidenhout's tough, wiry style. As such, it may not be the item to pick if you want to sample the series, but it's often fascinating. Bezuidenhout's basic modus operandi is to give considerable weight even to works conventionally thought of as light, using his powerful fortepiano (a copy of an 1805 Walter instrument by builder Paul McNulty) and its unequal-temperament tuning to bring out dissonances and sinewy lines rarely heard elsewhere. Here he has some really radical experiments to work with, and even if you find Bezuidenhout's readings idiosyncratic at times, you'll likely appreciate the likes of the Modulating Prelude F-C, K. deest (it is indubitably by Mozart), or the Menuetto in D major, K. 355, with its daring harmonies barely matched elsewhere in Mozart's output. Several of the sonata-form movements were abandoned by Mozart for one reason or another and have been completed by Mozart scholar Robert Levin; the joints are hard to hear. Some pieces, such as the Modulating Prelude and the Four Preludes, K. 284a, are examples of Mozart's improvisational abilities, which were rarely captured in notation. In the larger and more usual works, Bezuidenhout applies a heavy touch to the Piano Sonatas K. 279 and 280, and to three large variations sets, which are generally given a touch of French elegance. But in the Nine Variations on a Minuet by Duport, K. 573, Bezuidenhout achieves utterly distinctive results in a work that has almost no harmonic content and is completely about register and space. Bezuidenhout's Mozart is, to be sure, a matter of taste, but this is a fine conclusion to his series. © TiVo
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Classical - Released November 6, 2015 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - Choc de Classica - Qobuzissime
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Full Operas - Released October 30, 2015 | Glossa

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You may be shocked to see Mozart's name attached to an 1801 date on this Glossa release, but the actual nature of the recording is not so shocking: Les Mystères d'Isis is an adaptation of Die Zauberflöte, K. 620 (The Magic Flute), made for the Paris Opera by the Bohemian composer Ludwig Wenzel Lachnith and the French librettist Etienne Morel de Chédeville. This is no mere translation. Not only Chédeville, but also Lachnith, remade Mozart's opera to suit French tastes and even French singers, lowering the Queen of the Night, for example, to a mezzo-soprano. The two acts of the original opera become four, with interpolated arias from other Mozart operas (including Don Giovanni) and even the slow movement of Haydn's Symphony No. 103 in E flat major, H. 1/103 thrown in as a curtain raiser. Certainly such insertion arias were common at the time, but the degree of alteration here is extreme. All the characters' names change except for Pamina's and Sarastro's, and Papageno becomes a much more significant figure. The question arises as to why the French would have been interested in the opera at all in a form shorn of its original content; the detailed booklet points out that the opera's Egyptian setting would have contributed to its appeal, and notes further that even Wagner's operas were performed in French at their premieres. The whole project is interesting for the insight it provides into a time when classical compositions were something other than the sacred texts they later became. Berlioz, who helped that process along, savaged Les Mystères d'Isis mercilessly (the terms "wretched hodgepodge" and even "assassination" were used), as did Mozart's biographer Otto Jahn, who noted correctly that the adaption strips the low comedy out of the opera. It is nevertheless indefinably appealing to hear this familiar music sung in French, and instructive to study this chapter in the history of how the Mozart legend took shape. The performances are fine: Renata Pokupic as the Queen of the Night, here named Myrrène, is a standout, and the historical instruments of the group Le Concert Spirituel under Diego Fasolis realize unusual and even lush orchestral textures that might not have been recognizable to Mozart but are part of his reception history. Those interested in that reception history will be intrigued by this release. © TiVo
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Classical - Released January 18, 2015 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
The cycle of Mozart's complete keyboard music by Kristian Bezuidenhout has gained plenty of notice for its sheer originality and energy, including some from U.S. Grammy nominators at the end of 2015 for this volume. It's one of the best of the Bezuidenhout cycle, using the fortepianist's copy of an 1805 Anton Walter instrument (by the great American-Czech builder Paul McNulty) to magnificent effect in the almost symphonic Piano Sonata in D major, K. 284. In that work, taking all the repeats in the finale and introducing substantial tempo rubato in the repeats, Bezuidenhout gives the work an epic quality. But he does this with all of Mozart's variation sets, including the small one recorded here at the beginning. The Piano Sonata in A minor, K. 310, with its slashing accents and tense atmosphere, takes on a Beethovenian quality. Bezuidenhout in general emphasizes the experimental, proto-Romantic side of Mozart's musical personality and greatly minimizes the graceful Classical (and French) side. Whether you accept this may be a matter of taste, but it works exceptionally well in the two sonatas here, masterpieces of Mozart's middle period in Bezuidenhout's hands. Highly recommended. © TiVo
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Classical - Released April 4, 2014 | Royal Concertgebouw Orchestra

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In this era of minimally sized ensembles performing Mozart, it's almost refreshing to hear the composer's swan song, the unfinished Requiem in D minor, K. 626, performed by the sizable Royal Concertgebouw Orchestra of Amsterdam under conductor Mariss Jansons. The recording is part of a series of live performances of major requiem masses, with those by Brahms and Verdi following this one. Indeed, Jansons' reading of Mozart's mass seems to look forward to the other two; it has a broad Romantic feel and an operatic tinge in the solo parts, ably supported by a quartet of soloists including the mighty contralto Bernarda Fink. Operatic is probably the way to go in Mozart when dealing with a large orchestra, and in general this is a strong example of a rather old-fashioned way of doing Mozart, one that still has plenty of mileage. Sample the opening Introitus and its extremely unusual and very effective pacing quality. The Netherlands Radio Choir's contributions in the explosive Dies Irae and other large sections are outstanding, with power married to contrapuntal precision. The sound from the engineering team associated with the orchestra's in-house label is excellent; there's many a studio recording that can only aspire to this level of clarity and fidelity. This is, in short, an exceptional Mozart Requiem for anyone with any sympathy for what the 19th century brought to the work. © TiVo
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Solo Piano - Released January 13, 2014 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Hi-Res Audio
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Opera - Released January 7, 2014 | Glossa

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Full Operas - Released March 25, 2013 | Ambroisie - naïve

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio