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Cello Concertos - Released March 16, 2018 | Claves Records

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
French cellist Astrig Siranossian, a graduate of the Lyon CNSM and then of the prestigious Basel Hochschule went on to win First Prize and special prizes in the Krzysztof Penderecki competition: so it should come as no surprise that for this first solo album she has chosen a programme that brings together both the Second Concerto by Penderecki, written in 1982 and dedicated to Rostropovitch, and Khatchatourian's Concerto – Khatchatourian was Armenian, and it will not have escaped readers' notice that Siranossian is also an Armenian name. The young soloist is proving much sought-after: most notably, she has been invited to spend the next season with Daniel Barenboim at the new Pierre Boulez Hall in Berlin under the direction of Zubin Mehta, Simon Rattle and Antonio Pappano. Her musical partners include Yo-Yo Ma, Daniel Barenboim, Sol Gabetta, Bertrand Chamayou and Daniel Ottensamer, and she has graced stages as diverse as the Paris Philharmonic, the Vienna Musikverein the Salle Flagey in Brussels, the Buenos Aires Teatro Cólon the Kennedy Center in Washington… Note also that since 2015, she has been the artist in residence at the Queen Elizabeth Music Chapel in Belgium. This is a most promising musician whose career is one to watch closely. © SM/Qobuz
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Chamber Music - Released January 1, 1995 | Claves Records

Distinctions 5 de Diapason - The Qobuz Ideal Discography
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Classical - Released January 28, 2013 | Claves Records

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Classical - Released January 1, 1986 | Claves Records

Distinctions Grand Prix de l'Académie Charles Cros - The Qobuz Ideal Discography
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Classical - Released January 1, 2003 | Claves Records

Distinctions Diapason d'or - Diapason découverte
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Vocal Music (Secular and Sacred) - Released January 1, 1997 | Claves Records

Distinctions Diapason d'or de l'année - Diapason d'or
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Classical - Released January 1, 2003 | Claves Records

Distinctions Diapason d'or - Diapason découverte
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Classical - Released March 27, 2020 | Claves Records

Hi-Res Booklet Distinctions 5 étoiles de Classica
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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Solo Piano - Released December 4, 2020 | Claves Records

Hi-Res Booklet Distinctions Diapason d'or
« One hot summer day, I headed due south from London and crossed France and Spain on my road bike. Challenging it was, yet beautiful, emotional and colourful all at once — while pedalling thousands of kilometres, the journey brought me closer to my innermost core. Upon my return home, I wished to express all the intense feelings and sensations I experienced on the road in my own way — the language of music. The metamorphosis was already underway when I became aware of the duende and after digging a bit deeper, I immediately sensed that it was this feeling which touched me on my journey, giving me strength and letting me connect with people and their land more profoundly ». « There is a duality at play between the repetition of recording and the spontaneity and unpredictability of duende — and to summon duende, the process had to be as free and fluid as possible: all sessions built up to a final complete ‘recital’-take to capture the spirit of live creation. This was masterfully recorded by Jean-Martial Golaz — a magician of sound who effortlessly played the timeless acoustics of La Salle de Musique, La Chaux-de-Fonds to create a soundscape from another time. We intuitively found the golden balance to bring out the whispers of burning wind to the cries of flamenco from the old Steinway dating back to 1966 — the very same piano on which the great chilean pianist Claudio Arrau recorded Debussy’s Images in 1979. The soul of the piano was both conjured up and tamed by Corinne Wieland — a consummate piano technician. My gratitude goes out to both of them — this team gave me the wings to take off and be free.» Teo Gheorghiu / © Claves Records
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Concertos - Released February 28, 2020 | Claves Records

Hi-Res Booklet Distinctions 5 de Diapason
The wealth of music composed for the viola in the 20th century almost lets one forget the dearth of it in the 19th, which brought forth only two solo works of note: Hector Berlioz’s Harold in Italy, a concerto commissioned by Paganini that sidelines the viola so much he refused to play it; and Richard Strauss’s Don Quixote, in which the solo viola is relegated to the part of the Don’s sidekick Sancho Panza. Sidelined and sidekicked – the viola’s fate seemed a fulfilment of the oft-quoted line from Quantz’s sometime flute treatise that “the viola is largely regarded among musicians as being of little significance”. It was only really in the 20th century that composers realised that the viola’s status of an in-between instrument could actually be to its advantage. It’s bigger than a violin, but tuned like a cello, and is both warmer in tone than the former, and much more agile than the latter. The viola then had the good fortune to become the preferred instrument of several important composers. Ralph Vaughan Williams (1872-1958) briefly toyed with going professional on it; Paul Hindemith (1895-1963) went the whole hog and made a living from it in the Amar Quartet and as a soloist; and Benjamin Britten (1913-1976) too was a violist, though he kept his public performing activities to the piano and the podium. The viola was also lucky in having several fine virtuosi in the 20th century, most notably Lionel Tertis (1876- 1975) and William Primrose (1904-1982). Primrose had commissioned Bartók’s (unfinished) Viola Concerto in 1945, and it was for him that Britten wrote his Lachrymae for viola and piano in 1950. This is a series of “reflections”, i.e. variations, on a song by the Elizabethan composer John Dowland entitled “If my complaints could passion move”. The song’s melody is heard in the bass line after a few bars in the first variation, but only becomes properly recognisable at the end of the tenth and last. Meanwhile, another Dowland song has also infiltrated the texture – variation No. 6 refers back to Dowland’s more famous song “Flow my tears”, which had originated in his “Lachrymae pavan” – hence Britten’s title. He composed it during a break in work on his opera Billy Budd, and gave the first performance with Primrose at the Aldeburgh Festival in 1950. Britten then scored the work for viola solo and string orchestra in the spring of 1976, just months before he died. © Chris Walton/Claves Records
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Classical - Released December 1, 2007 | Claves Records

Booklet Distinctions 5 de Diapason
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Concertos - Released September 20, 2019 | Claves Records

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released December 2, 2016 | Claves Records

Hi-Res Booklet Distinctions 5 de Diapason
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Chamber Music - Released January 1, 2006 | Claves Records

Distinctions Diapason d'or
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Vocal Music (Secular and Sacred) - Released January 1, 1987 | Claves Records

Distinctions Diapason d'or
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Classical - Released January 1, 1986 | Claves Records

Distinctions Diapason d'or
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Classical - Released September 30, 2010 | Claves Records

Booklet Distinctions Diapason d'or
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Classical - Released January 1, 1998 | Claves Records

Distinctions Diapason d'or
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Concertos - Released November 4, 2016 | Claves Records

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
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Chamber Music - Released December 22, 2017 | Claves Records

Hi-Res Booklet Distinctions 5 de Diapason