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Concertos - Released January 1, 2012 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Record of the Month - Diapason d'or / Arte - Qobuzissime - Hi-Res Audio
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Violin Concertos - Released October 28, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Record of the Year - Gramophone Award - Choc de Classica - Choc Classica de l'année
"Not another complete recording of Mozart's violin concertos!", some might complain, and in absolute terms they wouldn’t necessarily be wrong. Except that this complete edition is signed by star violinist Isabelle Faust, accompanied by Il Giardino Armonico (who plays on instruments from Mozart’s time, including natural horns, nine-key bassoons, six-key flutes, two-key oboes), and – last but not least – the cadenzas are signed by Andreas Staier, since Mozart has left us no cadenzas for his violin concertos (unlike several piano concertos, as well as his Sinfonia concertante for violin and viola). Far from playing the star, Isabelle Faust prefers to blend in with the whole orchestra, a kind of primus inter pares attitude quite refreshing in this repertoire which, in fact, does not require so much emphasis of the part of soloist – the sound engineering and balance itself favours an overall sound rather than an opposition between solo violin and orchestra. This is a new and very original interpretation, whatever the abundant discography of these works may already be. In addition to the five concertos, Faust plays the three single movements for violin and orchestra – two Rondos and one Adagio – which are actually "spare" movements for one or the other of the concertos written on request for soloists of that time. One wonders what Mozart would have written had he had Isabelle Faust by his side! © SM/Qobuz
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Chamber Music - Released September 25, 2012 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4 étoiles Classica - Qobuzissime - Hi-Res Audio
Following up on the 2010 release of Volume I of J.S. Bach's sonatas and partitas for solo violin, which covered BWV 1004-1006, Isabelle Faust presents BWV 1001-1003 on the second volume, her 2012 release on Harmonia Mundi. For the first installment, she garnered critical acclaim and popular praise for her unstinting scholarship and unparalleled virtuosity, and the same applies to the long-awaited completion of the project. As in her previous performances, Faust uses the manuscript as her source and is careful to get all details right, while finding the proper balance between Bach's expression and her own. Faust plays a Stradivarius violin from 1704, nicknamed "Sleeping Beauty," and her tone is pure and radiant, despite some unavoidable but minimal scratchiness on double-stops, and she has a slight vibrato that she uses sparingly, almost as embellishment, in keeping with Baroque practice. The sonatas and partitas are virtuoso works where everything is exposed and a violinist's abilities are put to the ultimate test, not only in managing technical difficulties, but also in imagining the sounds, ornaments, textures, timbres, and nuances that Bach implies in his writng. Faust is one of the few artists to withstand the toughest scrutiny, and her set is highly recommended for her extraordinary fidelity to the music and true artistry. © TiVo
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Chamber Music - Released May 26, 2017 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Chamber Music - Released January 29, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio
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Violin Concertos - Released March 15, 2019 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, here is the next instalment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43. This fascinating achievement is a timely reminder that the master of The Well-Tempered Clavier was also a virtuoso violinist! © harmonia mundi
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Chamber Music - Released October 5, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
Marking the centennial of Claude Debussy's death, Harmonia Mundi has steadily released multiple volumes in a 2018 series of his complete works, freshly recorded by some of the label's leading artists. Debussy: Les Trois Sonates - The Late Works, like previous titles in the acclaimed series, is presented in a handsome trim-line box, though this release contains only a single CD and a thin booklet, so it is a bit over-packaged. However, the evocative performances of the Sonata for violin and piano, the Sonata for flute, viola, and harp, and the Sonata for cello and piano make the purchase worthwhile, and connoisseurs will regard this as one of the most sublime Debussy releases of the year. Featuring violinist Isabelle Faust and pianist Alexander Melnikov in the Violin Sonata, Debussy's last completed work; flutist Magali Mosnier, violist Antoine Tamestit, and harpist Xavier de Maistre in the Sonata for flute, viola, and harp; and cellist Jean-Guihen Queyras and pianist Javier Perianes in the Cello Sonata, the program boasts artists of exceptional artistry and expressive depth, all ideally suited to these refined and sometimes rarefied works. Interspersed between the chamber compositions are four keyboard works, performed by Tanguy de Williencourt in somewhat introspective readings that complement the more conversational ensemble pieces, though in Debussy's music, the emphasis on atmosphere tends to make everything seem reflective and intimate. The recorded sound is clean and transparent, which is ideal for capturing subtle nuances in quiet passages. © TiVo
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Trios - Released February 24, 2014 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Qobuzissime - Hi-Res Audio
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Duets - Released January 12, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
The six Sonatas for Violin and Obbligato Harpsichord BWV 1014-1019 (“obbligato” – compulsory – means the keyboard is fully scored, as opposed to basso continuo for which only the bass is scored, the rest being left to the discretion of the performer, who improvises) are some of these works that Bach kept revisiting and reworking. The oldest remaining source – from around 1725, through one of his nephews – already highlights the will to make these compositions evolve by refining them with successive adjustments. The work underwent another overhaul in Agricola’s manuscript, around 1741, while a copy made around 1750 by Altnickol reveals a third cycle status. An observation made by the musician’s second youngest son, Johann Christoph Friedrich Bach – “He wrote these trios just before his end” – seems to have been interpreted as proof that Bach was still working on these sonatas in the last years of his life. This new recording by Isabelle Faust, a great specialist of baroque interpretation, and Christian Bezuidenhout on the harpsichord, discretely reveals the extraordinary richness of these works’ three-voice writing, that resembles the format of a trio sonata. © SM/Qobuz
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Violin Concertos - Released February 28, 2020 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or / Arte - 5 étoiles de Classica
Almost forty years separate Verklärte Nacht from the Violin Concerto – the former still influenced by the idiom of Brahms and Wagner, the latter deriving from the richness of that later period when Schoenberg managed to combine a multiplicity of approaches within his twelve-note system. Between post-Romantic twilight and ‘classical’ rigour, Isabelle Faust and her most faithful partners offer us an extraordinarily lively interpretation of some of the most remarkable pages in twentieth-century musical literature. © harmonia mundi
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Duets - Released November 9, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
At a time when Mozart was writing his first sonatas for violin and clavier, in 1778, it was the done thing to write piano sonatas with violin accompaniment in which the violin part is fairly unobtrusive. The purpose of this was not to put off the target audience for the scores: educated amateurs. But Mozart paid no heed to this convention and took off into a new world with real duets, in which the two instruments found themselves on an even footing. At the same time, he avoided the corrective exaggeration which would appear in some scores which resembled violin concertos with a little piano support. Here we have a perfect balance between the two players: Isabelle Faust on the violin and Alexander Melnikov at the clavier. The latter of the two plays on a copy of a Viennese fortepiano made in 1795 by Anton Walter. The sound balance is utterly perfect, which is a relief, as all too often these sonatas either favour the keyboard part when played on the piano or the violinist tries to force it. We have here two sonatas written in Paris shortly after the death of Mozart's mother (who accompanied him on the journey), and then another from 1787 written in the wake of Leopold Mozart's death. Despite this the composer seems to be putting on a brave face, flashing a smile tinged with a tender nostalgia on the Sonata in E Minor K. 304. © SM/Qobuz
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Violin Concertos - Released March 1, 2011 | harmonia mundi

Hi-Res Booklets Distinctions Diapason d'or - Hi-Res Audio
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Chamber Music - Released May 18, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
Clocking in at a full hour, the Octet in F Major is one of the longest works in the chamber music repertoire. Ravaged by disease, Schubert took as his starting point, as expressly stipulated in the commission he received from the Steward of the Archduke Rodolphe, Beethoven's Septet in E-flat major Op. 20, whose fame greatly chagrined its writer. In Schubert's Octet there is a certain joie de vivre cut across, as ever with him, by occasional notes of desperation (the call of the horn in the first movement, the elegiac turns of the Adagio). In order to meet his patron's very precise specifications, he used the same instrumentation, with the addition of a second violin, and he took on the same order of movements and the same tonal pattern as the Beethovian model. But while Schubert poured his work into this mould so as to please his client, he wrote a very personal work which, by his own account, would lead him towards the great symphonic form which would appear rather later with his Symphony No. 9 in C major. Isabelle Faust and friends make you laugh and cry, moving in perfect unison from one emotion to another, never hesitating to lay this sublime music bare, without any recourse to affected vibrato or excessive expression. A performance that brings us close to the fragility of existence. © François Hudry/Qobuz
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Concertos - Released March 22, 2015 | harmonia mundi

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles Classica
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Duets - Released September 17, 2015 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Violin Concertos - Released March 26, 2007 | Pan Classics

Distinctions 5 de Diapason - 9 de Répertoire
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Duets - Released February 7, 2020 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
Using period instruments, Isabelle Faust and Alexander Melnikov breathe new life into these ‘sonatas for keyboard with violin accompaniment’, a tradition Mozart renewed from within, blazing the trail for Beethoven, Schubert and Schumann. The first volume was widely praised: ‘The greater similarity of tone between Faust’s sparkling violin and Melnikov’s glittering fortepiano (within an airier acoustic) results in a sound more akin to the jingling of small bells. It’s delicious’ (Gramophone). ‘In a world full of star violinists, all with technical facility and individual style, it’s rare to find one that everyone agrees is just – brilliant. Isabelle Faust is that violinist’ (The Strad). © harmonia mundi
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Duets - Released August 25, 2009 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Award
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Concertos - Released August 26, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Hi-Res Audio
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Violin Solos - Released April 22, 2010 | harmonia mundi

Hi-Res Booklet