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Classical - Released March 23, 2018 | Glossa

Hi-Res Booklet Distinctions 5 de Diapason
If he’s not as famous nowadays as his contemporaries and compatriots Francesco Durante and Leonardo Leo, Francesco Feo still is a major representative of the great Neapolitan school; he incidentally left his position at the Conservatorio di Sant'Onofrio in Naples to Leo to take the one left vacant by Durante at the Conservatorio dei Poveri di Gesù Cristo, still in Naples: it says it all about this superb melting pot that was the kingdom of the Two Sicilies (of which Naples was the capital city) in its heyday. The oratorio San Francesco di Sales, Apostolo del Chablais was performed for the first time in Bologna in January 1734, then again a few years later in Venice, an obvious proof that the work achieved some recognition. By the way, Feo, with the full weight of his sixteen operas—whose first put for the first time into music the libretto of a newcomer, Metastasio—was one of the most highly regarded composers of his time, not only in Naples but also in Vienna and in Madrid, and we can wonder why the hell his music isn’t broadcasted more nowadays. We can bet that this recording, a world premiere (the partition was only very recently recreated), will put him back on the foreground of the Italian baroque scene that he should legitimately share with Leo and Durante. The Stuttgart Chamber Orchestra, conducted by Fabio Biondi, adjoined the skills of a perfect set of singers. © SM/Qobuz
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Classical - Released May 15, 2020 | TACET Musikproduktion

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Classical - Released January 1, 2000 | Decca Music Group Ltd.

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Classical - Released October 9, 2020 | TACET Musikproduktion

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Classical - Released January 1, 1998 | Decca Music Group Ltd.

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Classical - Released January 7, 2014 | haenssler CLASSIC

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Classical - Released October 13, 2009 | Orfeo

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Classical - Released January 1, 2000 | Decca Music Group Ltd.

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Classical - Released April 27, 2012 | ECM New Series

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Classical - Released January 1, 2016 | Orfeo

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Classical - Released January 1, 1986 | Decca Music Group Ltd.

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Classical - To be released January 1, 2021 | TACET Musikproduktion

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Classical - Released August 16, 2019 | Bella Musica Edition

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Classical - Released April 27, 2012 | ECM New Series

The Musique funèbre (Funeral Music) title and the graphics for this release, showing a sere landscape against a black sky, might make you think that the emotional content consists of unrelieved gloom. But in fact it's more cheerful than not: the final selections from Bartók's 27 Two- and Three-Part Choruses, BB 111, are sunny songs for children's chorus and orchestra. They make a rather incongruous conclusion, but the music steadily brightens after the titular work by Witold Lutoslawski, and what you really have here is a crack performance that demonstrates Lutoslawski's links to Bartók and offers a nice mix of familiar and unusual Bartók works. Eastern European composers of the 20th century's second half were almost without exception mightily influenced by Bartók, whether they wanted to admit it or not, and fortunately Lutoslawski was one who readily acknowledged his debt. The Musique funèbre, in fact, was a direct tribute, written for the tenth anniversary of Bartók's death and marking the beginning of Lutoslawski's flirtation with twelve-tone music. He nevertheless used the technique in a characteristic way: developing melodies and structures from specific intervals in a way that recalls nothing so much as Bartók's own experiments with folk music. Bartók's Romanian Folk Dances, BB 76, are an ideal counterpoint, lifting the gloom but recognizably related. The common fund of contrapuntal treatments continues in the Divertimento for string orchestra, BB 118, the last work Bartók completed before fleeing to America in 1940. The most popular work on the program, it makes a good bridge between Bartók's late crowd-pleasing style and the rigors of his middle-period works. It is given a performance of awesome precision here by the Stuttgart Chamber Orchestra under Dennis Russell Davies, and it's worth the purchase price by itself. With the usual ECM engineers on hand for two separate sessions at the Liederhalle in Stuttgart, the sound is flawlessly consistent in spite of the fact that the sessions took place six years apart. Whether this program was planned organically or came together by chance, it makes a lot of sense in a collection of contemporary Eastern European music. © TiVo
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Classical - Released January 1, 1998 | Decca