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Classical - Released November 15, 2019 | Aparté

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This record is about reparation. History has not let two extraordinary composers meet each other. Georg Friedrich Haendel and Johann Sebastian Bach came to the world in 1785, one month apart. Twice, they failed to meet each other, and never again their life paths happened to come across, following parallel ways all along. This album is, thus, dedicated to this failure. Lina Tur Bonet and Dani Espasa offer here a record that reflects multiple questions, engaging a critical dialogue. If Bach and Haendel’s sonatas are facing each other, it is mostly their voices that echo to one another. By choosing these works, Lina Tur Bonet and Dani Espasa recreate, for an instant, the encounter of the two German composers, whose existences suddenly merge into one. This is the exact meaning of the matter of music, being able to suspend the time for a moment by giving birth to something that has never been before. Lina Tur Bonet and Dani Espasa prove to be true magicians in this recording, and much as their exceptional reinterpretation reveals the whole deepness and closeness that these works and their composers share. © Aparté
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Chamber Music - Released September 25, 2015 | Pan Classics

Hi-Res Booklet Distinctions 5 de Diapason
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Chamber Music - Released February 17, 2017 | Pan Classics

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Classical - Released September 21, 2018 | Pan Classics

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Chamber Music - Released November 20, 2020 | Passacaille

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Vienna. 1803. George Bridgetower, a violinist of Afro-European descent, causes furore with his virtuosity and captivates Beethoven, who writes a devilish and magnificent sonata for his unique and exotic character. Despite the premiere’s enormous success performed by both of them, an unfortunate comment by the violinist about one of the composer’s female friends leads to this famous sonata being finally re-dedicated to Rodolphe Kreutzer, who however would never interpret it because of its enormous difficulty. Ten years later, Beethoven composes his next and last violin sonata, dedicated to Pierre Rode, in a completely different character, enormously poetic and introverted. Written in the stage of Beethoven’s life widely associated with his “Immortal Beloved”, the sonata nevertheless retains his incomparable energy. Described as “Fiery virtuoso” (The Strad) “the Soul Violinist” (Sankei Shinbun) or “Devil’s fiddler” (Bayerischer Rundfunk), Lina Tur Bonet joins now Aurelia Visovan, the 2019 winner of the MA Competition in Bruges, to celebrate the german composer in these Sonatas. After an intense investigation, inspired among others by Clive Brown’s extensive research on the topic, a daring and innovative version is offered, combining Beethovenian’s fire, poetry and humour with the search for the authentic. © Passacaille
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Classical - Released September 2, 2014 | Pan Classics

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Classical - Released September 15, 2017 | Pan Classics

Booklet
The six Sonates pour le violon et pour le clavecin by Elisabeth-Claude Jacquet de La Guerre (1665- 1729), dedicated to Louis XIV, were published in Paris in 1707 - the  very year  when  the  models  and  the  most  recent invenzioni of  the  Italian  sonata  arrived in  France. But it appears that as early as 1695 Elisabeth had sent a copy of at least two sonatas to her friend Sébastien de Brossard, thus making it possible to bring forward significantly the date of composition of at least part of the anthology, making this one of the first French examples of sonatas for violin and basso continuo. An outstanding and influential personality in the French musical world, Elisabeth Jacquet was a harpsichordist, organist, singer and composer, and was presented in the court of the Sun King aged just five. In 1677, the French periodical Mercure galant even defined her as the marvel of our century, capable of truly musical miracles. Educated and growing up in Versailles under the protection of Madame de Montespan, a favourite of the king, in 1684 Elisabeth married the organist Marin de La Guerre, and continued her musical activity in Paris as teacher and composer. The markedly novel nature and the original, daring, harmonic sonorities (not mentioning the importance of the bass line, often independent and contrapuntal with the violin part) distinguishing these sonatas were grasped and recognised immediately by the public of the time: that same Mercure galant – revue which, on a number of occasions followed the development of de la Guerre, praising her and reflecting the success obtained at court – described the Sonates as works of great originality, attractive not just because they adjust to the formal parameters, taste and the aesthetics of the time; not merely beautiful works in their own right, but music which is uncommon and marvellous, refined, gracious yet audacious, its melodic lines intimately and essentially based on the principle contrast. Thus the musical text flowers from the continuing conflict between traditional composition, the practice of habitual ornamentation, and above all free experimentation, subjecting the listener to changes of tempo and metre, harmonic daring and sharp expressive contrasts.