Your basket is empty

Categories :

Similar artists

Albums

From
CD$9.99

Classical - Released March 25, 2016 | Accent

Distinctions Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Gramophone Editor's Choice
The Czech composer Jan Dismas Zelenka was admired by Bach, who was sparing with praise for other composers, and in this Missa Divi Xaverii, ZWV 12, and its accompanying St. Xavier litany, you can hear why: although Zelenka comes from a slightly later stylistic layer, there is something Bachian about the combination of large ambitions and gravity in these movements. The ensemble for which the mass is scored -- four soloists, chorus, four trumpets, timpani, two flutes, two oboes, bassoon, strings, and a substantial continuo -- is rich by any Baroque standard, and the Czech Collegium 1704 and Collegium Vocale 1704 groups realize it superbly. It is not known why St. Xavier merited such a sumptuous treatment when this mass was composed in 1729. These groups delivered a magnificent recording of the Zelenka Missa Votiva, ZWV 18, in 2008, and for this recording they have moved to the Accent label from Zig Zag Territoires and benefited from support not only from the Czech culture ministry, but also from friends on Indiegogo. It was an even bigger project than the Missa Votiva was, involving not only world premieres of rare scores, but also, in the case of the mass, a difficult reconstruction of the score by conductor Václav Luks. There are sparkling Italianate soprano arias -- sample the "Benedictus" ravishingly delivered by Masaaki Suzuki's favorite Hana Blaziková -- framed by big contrapuntal movements based on linked themes and handled with Bachian skill. It is hard to avoid the feeling that, as with the earlier recording, this is a recording that will remake the High Baroque repertory, and that the ensembles' Indiegogo donors got more than their money's worth. © TiVo
From
HI-RES$14.99
CD$9.99

Classical - Released November 19, 2013 | BIS

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
With this release, the 55th, Japanese conductor Masaaki Suzuki and his Bach Collegium Japan reach the end of their magisterial complete cycle of Bach's cantatas, begun in 1995. The cycle ends neither with a bang nor with a whimper, although you do get a touching note from Suzuki, wishing that someone would rediscover cantatas so that he could go on, and a handy index to the entire series. The last albums in the group have covered late cantatas from Bach's Leipzig years, most of which were recycled from other works; Bach saved his unique thoughts for major occasions, not for the workaday world of the cantata. This said, these are intriguing pieces, well-performed as usual. The most unusual is the Cantata No. 30, "Freue dich, erlöste Schar," BWV 30, which was based on a little-known secular cantata, Angenehmes Widerau, BWV 30a ("Pleasant Widerau") Despite the "30a" designation, the secular work came first, and what's unusual is how all the dances and peppy festive music are retained. Suzuki has been at this a long time but does not miss the liveliness of this little piece, or the grander Cantata No. 69, "Lobe den Herrn, meine Seele," BWV 69, or the Cantata No. 191, "Gloria in excelsis Deo," BWV 191, taken directly from the Mass in B minor, BWV 232. Suzuki sticks with the soloists he has favored in the last set, including the utterly distinctive Hana Blaziková and countertenor Robin Blaze, and the careful layering and wonderfully detailed architecture that have been the trademarks of the series are everywhere in evidence. A great many listeners will be sad to see it end. © TiVo
From
HI-RES$29.99
CD$19.99

Opera - Released October 26, 2018 | SDG

Hi-Res Booklet Distinctions Gramophone Record of the Month
Il ritorno d’Ulisse in patria by Monteverdi poses a lot of problems for modern performers. There exists no definitive manuscript – although one may doubt how much people bothered back then with "definitive" versions of works which were re-written from one performance to the other, depending on the singers and instrumentalists that were on hand, the tastes of this or that star, the diktat of the Church – and the only copy dating from the composer's time, discovered in Vienna in 1881, is incomplete. When we try and compare this manuscript with different copies of the libretto which are still around today, the difficulties only increase. For this recording by Sir John Eliot Gardiner and the English Baroque Soloists, recorded live at concerts in September 2017, the decision was taken to fill in everything that could be filled in with a few passages borrowed from earlier works by Monteverdi. The Return of Ulysses dates from 1640, when Monteverdi was 74 years old, so there was a lot to choose from for these fillers. This version is almost certainly the closest approximation we have to the original yet, the singers have worked hard to give the most accurate reproduction possible of the vocal inflections demanded by the various formats employed by Monteverdi. These inflections are often very declamatory and sometimes sung to the fullest. The recitations and the melodies, the ensembles and the choirs: everything is treated with the utmost care and the effort put into contrast and clarity only enhances the quality of this recording. A magnificent rendition. © SM/Qobuz
From
HI-RES$14.99
CD$9.99

Classical - Released February 5, 2016 | BIS

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
From
HI-RES$13.49
CD$8.99

Classical - Released September 8, 2015 | Phi

Hi-Res Booklet
The Cantigas de Santa Maria come from the imposing collection of the court of Alfonso X el Sabio, which offers us one of the most precious sources of mediaeval Spanish music. The Cantigas take us to the end of the Reconquista of the Iberian peninsula and to the very heart of the culture where Christian, Muslim and Jewish traditions mingle. These songs are interesting not only for their absolutely unique musical language but also for their Portuguese and Galician texts in which are combined poetry, popular stories and hymns, most of them praising miracles of the Virgin Mary. Starting from illuminated manuscripts that give us an idea of the instruments used at the king’s court, Hana Blažikova and her partners perform these works like a dialogue between two women’s voices, enriching it with two harps, a dulce melos and percussion. Whether using the whole consort or putting the instruments aside, this subtle interpretation has its source in plainchant and the music of the troubadours, with a touch of Arabizing ornaments and improvisation. © Qobuz
From
CD$9.99

Classical - Released January 20, 2017 | CPO

Booklet
From
CD$9.99

Vocal Music (Secular and Sacred) - Released October 1, 2013 | Pan Classics

Booklet
From
CD$9.99

Classical - Released February 26, 2016 | Accent

Booklet
From
CD$9.99

Classical - Released October 7, 2014 | Accent

Booklet
From
HI-RES$21.99
CD$16.99

Classical - Released September 8, 2015 | Phi

Hi-Res Booklet
The Cantigas de Santa Maria come from the imposing collection of the court of Alfonso X el Sabio, which offers us one of the most precious sources of mediaeval Spanish music. The Cantigas take us to the end of the Reconquista of the Iberian peninsula and to the very heart of the culture where Christian, Muslim and Jewish traditions mingle. These songs are interesting not only for their absolutely unique musical language but also for their Portuguese and Galician texts in which are combined poetry, popular stories and hymns, most of them praising miracles of the Virgin Mary. Starting from illuminated manuscripts that give us an idea of the instruments used at the king’s court, Hana Blažikova and her partners perform these works like a dialogue between two women’s voices, enriching it with two harps, a dulce melos and percussion. Whether using the whole consort or putting the instruments aside, this subtle interpretation has its source in plainchant and the music of the troubadours, with a touch of Arabizing ornaments and improvisation. © Qobuz
From
CD$16.99

Classical - Released February 1, 2010 | Ramée

Booklet