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Classical - To be released September 11, 2020 | Claves Records

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Classical - To be released June 12, 2020 | Claves Records

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Classical - To be released May 15, 2020 | Claves Records

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Classical - To be released May 15, 2020 | Claves Records

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Chamber Music - To be released May 15, 2020 | Claves Records

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Concertos - To be released May 1, 2020 | Claves Records

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Concertos - To be released May 1, 2020 | Claves Records

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Concertos - To be released May 1, 2020 | Claves Records

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Concertos - To be released May 1, 2020 | Claves Records

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Concertos - To be released May 1, 2020 | Claves Records

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Classical - To be released April 10, 2020 | Claves Records

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Classical - Released March 27, 2020 | Claves Records

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This recording was made in April 2019 at the Ernest-Ansermet Studio in Geneva, after five concerts in Switzerland during the preceding days. The desire to be as faithful as possible to the rhythm of the drama of the Passion and to the evidence of the musical sequences, which is easier to feel during a live performance than in front of the relative abstraction of the microphones, as well as a non-negligible time constraint (three and a half days in the studio for a work of 160 minutes), pushed the members of Gli Angeli Genève to record long takes, sometimes including up to 10 or 12 minutes of music, thus getting as close as possible to the feeling of a concert. In concert, with small vocal groups, Gli Angeli Genève systematically places the singers in front of the instruments regardless of repertoire, so as to give speech in music the most prominent place possible. When recording, since the audience’s crucial role cannot be replaced by the microphones, the musicians place ourselves in a large circle, all facing each other. They can see each other playing, singing, vibrating, breathing and reacting. The idea of reaction is central to this work where, when the action of the story is suspended, it is immediately replaced by emotion and poetic as well as musical beauty that Matthew’s story inspired in Bach and Picander. Airs as well as chorales. And within this circle they can react together, engage in dialogue, and see themselves feel the drama and powerful affects that mark the work relentlessly. And then they can share the pleasure and sometimes the awe - so beautiful is the music – of being able to live all this together. Forming a circle to make this music and observing the extraordinary musicians of Gli Angeli Genève at work led Stephan MacLeod (the conductor) to realise the extent to which The Saint Matthew Passion has structured the career and relationship to music of many of his colleagues. © Claves Records
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Chamber Music - Released March 13, 2020 | Claves Records

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From very early on, Mozart was aware of the possibilities of an ensemble situated halfway between concerto and chamber music. Indeed, it was Mozart who paved the way for the piano quartet in 1785 and 1786 with the two masterpieces that are presented here. Such an instrumental ensemble was unknown before this, but from that point onwards it would live on throughout the 19th century through the key works of Schumann and Brahms, then of Dvořák and several other famous musicians. The Quintet in G minor, K. 478, is bold right from the opening few bars, in a passionate key that Mozart used in famous works such as Symphonies Nos. 25 and 40 as well as his fabulous String Quintet, K. 516 from 1787. The powerful first movement, the lyricism of his Andante and his joyful final Rondo in G major have captivated chamber musicians from around the world for centuries. Its counterpart, the Quarter in E-flat major, K. 493, displays the carefree nature of youth but still shows a sense of maturity with darkness and nostalgia. Recorded in May 2019 in Drogheda in the Republic of Ireland, this album offers an outstanding interpretation of Mozart’s work by four exceptional musicians from very different backgrounds. Pianist Finghin Collins, originally from Dublin, studied both at the Royal Irish Academy of Ireland and with Dominique Merlet at the Geneva Conservatory. Violinist Rosanne Philippens is renowned for her talent as a performer (her version of Vivaldi-Piazzolla’s Four Seasons was a complete sensation in Lyon) and is an extraordinary communicator. Former solo viola of the Berlin Philharmonic, Hungarian Máté Szücs plays and teaches masterclasses all over the world and is now a professor at the Geneva University of Music. Last but not least, cellist István Várdai is the winner of the prestigious ARD Competition in Munich as well as the Tchaikovsky Competition in Moscow. In addition to his career as a chamber musician and soloist, he has now taken over Heinrich Schiff’s cello class at the University of Music and Performing Arts in Vienna. © François Hudry/Qobuz
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Concertos - Released February 28, 2020 | Claves Records

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Chamber Music - Released January 17, 2020 | Claves Records

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Classical - Released December 20, 2019 | Claves Records

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Vocal Music (Secular and Sacred) - Released December 6, 2019 | Claves Records

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Born in Vienna in 1865 (the same year as Sibelius and Nielsen), Émile Jaques-Dalcroze was originally from Geneva, where he laid the foundations of studies on rhythm, before spreading his teachings of music based on the physical perception of the musical phenomenon to Germany and beyond. His influence on contemporary dance was felt the world over, from the creation of Stravinsky’s Rite of Spring to the German choreographers influenced by his methods and philosophy. A rhythmic class was briefly created by Jacques Rouché at the Paris Opera in 1917, leading to uproar in more conservative circles of the dance world, fearful that this threatened the survival of traditional French ballet. The experiment was shut down in 1924, thus stopping France from participating in the contemporary dance explosion. Jaques-Delcroze was a composer with a lot to say: having studied with Anton Bruckner in Vienna and with Leo Delibes and Gabriel Fauré in Paris, he had the knowledge to incorporate elements from folkloric music as well as orchestral repertoire into his vast catalogue. La Veillée finds its inspiration from a George Sand novel, Les Maîtres sonneurs (The Bagpipers), published in 1853, a story set in the Berrichonne countryside assimilated into French-speaking Switzerland. Jaques-Delcroze produced his most ambitious work from it, a sort of secular oratorio separated into nineteen parts, each linked together by a recurring motif. Exhibiting fresh notions of inspiration and large amounts of variety, La Veillée was created in its definitive form in 1909 and requires six vocal soloists, a mixed choir and a large symphonic orchestra. This recording, made in Geneva studio in September 2018, offers up an abridged version (probably to fit into two albums) omitting 5 numbers from the vast score. However this omission does not prevent the discovery of an exciting and singular piece of Genevan musical history, before the emergence of a new generation of composers such as Frank Martin and Arthur Honegger and the arrival of Ernest Ansermet who would go on to open up the doors musical modernity. © François Hudry/Qobuz
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Chamber Music - Released November 22, 2019 | Claves Records

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"The music and personality of Wolfgang Amadeus Mozart have always been very close to my heart. I could not have predicted, however, that the late 18th century would become alive to me beyond his music and his life. In 2017, the Swiss dressmaker Christian Tanner created a historical women’s collection in the style of the 1780s-90s that was completely sewn by hand and for which I became the face and the inspiration. The transformation that came through wearing these gowns, having historical “tower” hairdos created with my own hair, induced a feeling of magical connection between the past and the present that led me to wonder: What must have been the sense of self of a woman at that time? How must she have sat at her instrument, constrained by the tightness of her corset and how could she move her hands? By actively participating in historical reenactments like candle-light soirées, dances and leisurely walks, Mozart’s daily life as I imagined it to be, based on his surviving family correspondences, started to take a clearer shape. Through these experiences, I started feeling connected to the woman who in 1780 was the same age as myself today and who shared a most intimate relationship with Wolfgang, even before his first wife: His sister Nannerl." (Helga Váradi) © Claves Records
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Chamber Music - Released October 18, 2019 | Claves Records

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Concertos - Released October 18, 2019 | Claves Records

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