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Classical - Released February 23, 2018 | Audax

Hi-Res Booklet Distinctions Diapason d'or - Preis der deutschen Schallplattenkritik
In 18th Century France, a number of new composers developed "pure music" in a broader sense, and not just music for human voice, with religious works on the one hand and lyrical works on the other. These new works were first and foremost intended for great enthusiasts, in particular for salon harpsichord players. Hence the title "pieces for harpsichord with violin accompaniment", because, strictly speaking, one could do away with the violin part, which in any case doesn't represent a virtuoso level of difficulty. The result, of course, is that the harpsichord is not a simple continuo but beautifully written as harpsichord music, much closer to a virtuoso piece - but an amateur harpsichordist of middling ability will always be able to manage, where as an amateur violinist of an equivalent level would only be able to produce the most frightful screeches from their instrument! All the composers here were born between 1705 and 1720, and died between 1770 and 1799 – some long after Mozart. When in 1740 he published his Pièces de clavecin en sonates avec accompagnement de violon, Mondonville was a forerunner – even Rameau's Pièces de clavecin en concert dates from the following year, even though Rameau was Mondonville's senior by some years. In 1742, Corrette followed suit with his own Sonates pour le clavecin avec accompagnement de violon; the following year, Clément would publish his Sonates en trio pour un clavecin et un violon – the violin part is clearly more developed here than it was in his predecessors' works. In 1745, Guillemain raised the bar a fair way with Pièces de clavecin avec accompagnement de violon in which the violin, in a rather Italian style, became indispensable and is far from being a mere accompaniment (an editor's ploy to make the score more attractive to amateurs?) while the harpsichord part becomes almost virtuoso. In 1747, it was Marchand's turn with his Pièces de clavecin avec accompagnement de violon, hautbois, violoncelle ou viole : the composer is leaving no stone unturned! In 1748, Balbastre stepped up to the chamber music plate, and the fashion was solidly anchored. The last name on our list is Duphly, whose Troisième livre de clavecin offered the option of adding a violin part, probably aimed at amateurs of a wide range of abilities. Harpsichordist Philippe Grisvard is no stranger to the Poème Harmonique, the Chamber Orchestra of Europe, the Nouveaux Caractères and a long list of other great baroque and classical ensembles from across the globe; while violinist Johannes Pramsohler founded the Diderot Ensemble in 2008, and exercises his talents as the solo violinist of the King’s Consort, the Concert d’Astrée and the baroque ensemble Concerto Melante which came from d'Astrée. © SM/Qobuz
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Chamber Music - Released October 14, 2016 | Audax

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
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Classical - Released September 25, 2015 | Audax

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
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Cantatas (sacred) - Released April 20, 2018 | Audax

Hi-Res Booklet Distinctions 5 de Diapason
Continuing their research into the vast hinterland of German cantatas from the early baroque period, Johannes Pramsohler and the musicians of his excellent Diderot Ensemble here dive into the austere and strange music of Biber, but also the less-well-known works of Johann Christoph Bach, great uncle of Johann Sebastian and musicians like Pachelbel, Bruhns and Eberlin. Johannes Pramsohler brings a particular fire and mystical sensuality to this new album (heavenly and earthly delights never being so far apart), and intense celestial flights to his violin playing. A range of international singers have left behind opera and dived with staggering ease into a completely different repertoire. The architects of this success, the supply and airy voice of the Canadian mezzo Andrea Hill, the perfectly gloomy timbre of Spanish tenor Jorge Navarro Colorado and the dark colours of the Argentine bass Nahuel di Pierro, sound the depths of this music driven by a great piety. © François Hudry/Qobuz
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Classical - Released November 3, 2014 | Audax

Hi-Res Booklet Distinctions 4 étoiles de Classica
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Classical - Released October 19, 2018 | Audax Records

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Duets - Released March 30, 2015 | Audax

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Classical - Released March 16, 2012 | Raumklang (edition raumklang)

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Classical - Released October 20, 2017 | Audax

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Classical - Released November 3, 2014 | Audax

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Children - Released October 14, 2016 | Audax

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Duets - To be released March 1, 2019 | Audax Records

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