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Chamber Music - Released August 25, 2015 | Alpha

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Choc de Classica - Exceptional sound
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Chamber Music - Released September 24, 2013 | Zig-Zag Territoires

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Choc de Classica - Hi-Res Audio
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Sacred Vocal Music - Released June 8, 2018 | Alpha

Hi-Res Booklet Distinctions Gramophone Editor's Choice - Preis der deutschen Schallplattenkritik
In 1668, Dietrich Buxtehude, then thirty one years old, took up the very sought-after tenure of organist at the Marienkirche in Lübeck, then a Hanseatic metropolis of considerable relevance; the organist had at that time one of the most desirable social statuses. He soon caused a sensation with the church concerts he held outside of religious services and that happened every year, in the early evening, on the five Sundays preceding Christmas. During these “Abendmusiken” (vespertine music), as they were called, were sometimes performed great works falling withing the oratorio genre, but more often was performed a mix of instrumental pieces, church tunes, psalm arrangements and cantata-like works. From the 1700s, these series of concerts had become a major cultural event of the city. Released from the daily handling of religious music handled by the Marienkirche’s Cantor—as was often the case at the time in North Germany—, Buxtehude only composed works on his own initiative, which allowed him to give them a quality level noticeably higher than that of the Cantor, for example, forced to compose non-stop, from one Sunday to another. The cantatas recorded here demonstrate the high artistic ambitions of these vocal works: they often digress from stylistic and generic conventions of their time and answer the tasks imposed by the texts with bold musical solutions, daring and absolutely splendid. The sonatas from Buxtehude completing the vocal program of this disc are also characterized by their markedly experimental character. Olivier Fortin’s Masques Ensemble—recorder, strings, positive organ—and Lionel Meunier’s Vox Luminis join forces to offer us these gems from the turn of the North German 18th century, such gems that the young Bach didn’t hesitate, in 1705, to travel on foot from Arnstadt—a 100-league trip—to come listen to Buxtehude, his organ play and probably his famous Abendmusiken. © SM/Qobuz
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Chamber Music - Released October 28, 2016 | Alpha

Booklet Distinctions 5 de Diapason
Le Théâtre Musical de Telemann may not be the most obvious title for an album of Baroque chamber suites, but it should not be taken in the sense of a stage work. Instead, the program of this 2016 release from Alpha suggests a theater of the imagination, or musical depictions of national musical characteristics, in which Telemann took an avid interest. His "ouvertures," of which he likely composed around 600, were collections of lively pieces in a variety of styles, for the most part dance music and character studies. Ensemble Masques, a Canadian consort of strings and continuo led by harpsichordist Olivier Fortin, presents a program of three suites and one concerto, but the most picaresque are the Ouverture - Suite in B flat major, "Les Nations," with its exotic depictions of Turks, Swiss, Muscovites, and Portuguese, and the Ouverture - Suite in G major, "Burlesque de Quixotte," a rendering of scenes from Don Quixote. More abstract pieces are gathered in the Ouverture - Suite in A major, which includes an opening in the style of Lully, followed by a series of conventional dances, and the Concerto Polonois in G major, a four-movement work that, for all of its folk associations, can be construed as absolute music. All the performances are delivered in exquisite period style, with scintillating ornamentation and vibrant string sonorities that suggest the use of authentic Baroque instrumentation.

Chamber Music - Released March 26, 2013 | ATMA Classique

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