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Classical - To be released March 20, 2020 | Decca Music Group Ltd.

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Keyboard Concertos - Released February 21, 2020 | Decca Music Group Ltd.

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Classical - Released February 21, 2020 | Decca Music Group Ltd.

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Classical - Released February 7, 2020 | Decca Music Group Ltd.

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The “discoveries” mentioned in the title of this record are mostly pieces of occasional light music, including a few marches, written by Luigi Cherubini when he was director of the French academy of music in Paris. But the lion’s share of the album conducted by Riccardo Chailly, head of the Filamornica della Scala in Milan, is the Italian composer’s sole symphony commissioned in London as a replacement of Beethoven’s Ninth Symphony which could not meet the required deadline. The German composer greatly admired Cherubini. But, unfortunately, Cherubini is not Beethoven and his skillful Symphony in D major, once championed by Arturo Toscanini, cannot bear comparison with Beethoven’s. Maestro Chailly’s performance generates beautiful energy and excitement but the conductor’s effort cannot turn the symphony into a masterpiece. The album is released to celebrate Beethoven’s birthday. It is worth listening to if you want to discover a composer that Beethoven praised and admired. © François Hudry/Qobuz
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Classical - Released February 7, 2020 | Decca Music Group Ltd.

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Classical - Released January 24, 2020 | Decca Music Group Ltd.

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Classical - Released January 24, 2020 | Decca Music Group Ltd.

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Classical - Released January 10, 2020 | Decca Music Group Ltd.

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20 years old and a brazen amount of talent: the Afro-British cellist Sheku Kanneh-Mason has three idols. Cellists Jacqueline du Pré and Mstislav Rostropovitch and reggae legend Bob Marley, three passionate and extrovert forces. His career really took off after he performed at Prince Harry and Meghan Markle’s wedding in 2018. His album Inspiration released the same year broke all sorts of sales records in the United Kingdom and his hometown of Nottingham even named a bus after him. As part of a partnership with the label Decca, he is back with a new recording, this time dedicated to the famous Cello Concerto in E Minor, Op. 85, accompanied by the London Symphony Orchestra headed by their new conductor, Sir Simon Rattle. A first class encounter which produces a poetic vision, almost like chamber music, of this renowned concerto. Made famous by Jacqueline du Pré’s versions (with Barbirolli then with her husband Daniel Barenboim), Elgar’s Concerto is accompanied on the track listing by other shorter pieces which were popular among soloists and music lovers alike a century ago, which the younger generation is bringing back in vogue. The album features arrangements of traditional music and works by Bloch, Elgar, Bridge, Fauré and Klengel. From the infinitely large to the infinitely small with the staggering virtuosity of this bright young talent. © François Hudry/Qobuz
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Classical - Released January 10, 2020 | Decca Music Group Ltd.

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Film Soundtracks - Released December 13, 2019 | Decca Music Group Ltd.

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Film Soundtracks - Released December 13, 2019 | Decca Music Group Ltd.

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Classical - Released November 29, 2019 | Decca Music Group Ltd.

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She had to dare. Cecilia Bartoli appears on this album cover nude, androgynous, in a full beard and with hair down to her shoulders, delving deeper into the legend surrounding Farinelli, already explored with questionable sensationalism in the world of cinema and replaced with more correct historical precision in Patrick Barbier's brilliant book dedicated to the famous Neapolitan castrato. The now-lost voice of castratos made eager crowds go wild at the time, the singers carrying a certain mythical aura around them, attributed to the confusion of their gender, bathed in an ambiguous eroticism. These music lovers have not however disappeared: they're the ones rushing to hear the Italian singer's vocal prowess both in concert and on disc. For this opus dedicated to Farinelli, Cecilia Bartoli has chosen well-known melodies from the repertoire of the famous singer, varying her vocal fireworks she is so renowned for with some more dramatic, introspective tunes. Cecilia Bartoli conjures up Porpora, Hasse, Giacomelli, Caldara and Riccardo Broschi, Farinelli's own brother in a thrilling spectacle which aims, if not to uncover a hypothetical voice of the past, to replicate the chills it could produce thanks to her passion and dedication to the art. © François Hudry/Qobuz
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Classical - Released November 15, 2019 | Decca Music Group Ltd.

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Classical - Released November 8, 2019 | Decca Music Group Ltd.

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Solo Piano - Released October 18, 2019 | Decca Music Group Ltd.

Hi-Res Distinctions 5 de Diapason - Choc de Classica
This release, issued to mark the 75th birthday of the great pianist Nelson Freire in 2019, is hardly a typical album of encores. A good deal of it is devoted to a single composer, Edvard Grieg. Other composers are represented by multiple works, and there are substantial pieces like the Rachmaninov Prelude in B minor, Op. 32, No. 10, that would not fill the role of encore well. You might take the word "encore" in another way, though: to mean things reprised. Many of these pieces are ones Freire knows well, has played many times, and has explored at a truly breathtaking level of detail. The Grieg Lyric Pieces are not virtuoso works, and indeed are often played by amateurs, but you haven't heard them played like Freire plays them, with each one a little study in phrasing and register. You could sample almost anywhere here, but try the first of the Shostakovich Fantastic Dances, Op. 5, which has an entrancing subtlety from the very first notes. Freire, a famed virtuoso, mostly avoids showpieces here, but, as if to say he hasn't lost the ability, he does drop some in. The album is, then, an encore to Freire's remarkable career, which isn't over yet.
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Classical - Released October 18, 2019 | Decca Music Group Ltd.

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Symphonic Music - Released September 13, 2019 | Decca Music Group Ltd.

Hi-Res Distinctions 5 de Diapason
the past three years, the Montreal Symphony Orchestra (a huge contributor to the Decca label since Charles Dutoit’s lead from 1977-2002) and Kent Nagano have been making an exciting series of recordings, focusing on rare works, namely Honegger-Ibert’s L’Aiglon and Leonard Bernstein’s A Quiet Place. Today, they continue their recording journey on American terrain, with a retrospective entirely dedicated to John Adams. They had left for unknown territory with Bernstein and now they return to town to celebrate one of the popes of minimalism. While Harmonielehre, a vast triptych composed in 1985 (a humble tribute to the early 20th century with perceptible influences from Wagner, Schönberg, Sibelius and Ravel) and the exciting fanfare Short Ride in a Fast Machine composed for orchestra in 1986 have been superbly championed by Sir Simon Rattle (EMI, Birmingham, 1993) as well as Michael Tilson Thomas (San Francisco, 2010-2011), few have recorded Common Tones in Simple Time (the composer’s first work for a large orchestra written in 1979) since Edo de Waart’s recording for Nonesuch in November 1986 at Davies Symphony Hall. The piece recalls Stravinsky’s Petrushka and Kent Nagano’s fluid and gentle touch is perfectly suited to this absolutely fascinating score. Throughout the other works in the programme the American conductor is consistent with his own rather “pointillist” style. In fact, Adams is almost like a modern transcription of Seurat’s paintings. This great clarity in the harmonic superimpositions also reveals the clear influence of Berg and Webern in The Anfortas Wound and allows for new balances in the incipit of the final part of Harmonielehre (Meister Eckhardt and Quackie), one of John Adams’ most striking scores, especially since the tempos and rhythms remain measured here (unlike Michael Tilson Thomas’s interpretation), giving a stirring new version of an unmissable major work. However, the greatest highlight of this anthology is still Common Tones in Simple Time, which almost sounds like a sonic representation of Van Gogh’s Starry Night. © Pierre-Yves Lascar/Qobuz
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Classical - Released September 13, 2019 | Decca Music Group Ltd.

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Symphonic Music - Released September 6, 2019 | Decca Music Group Ltd.

Hi-Res Distinctions Diapason d'or / Arte
Leading the Lucerne Festival for two summers running, conductor Richardo Chailly has honoured composers that the musicians had never yet recorded: Igor Stravinsky in 2018, and Richard Strauss in 2019. The sumptuousness of the orchestration of the latter here affords a glittering clarity, just as much in the concertante parts as in the tutti. The writing conjures a Straussian atmosphere: a marvellously apt terrain for the Lucerne orchestra. In Zarathustra, the strings, in particular the double-basses, rumble away as under one bow, with gobsmacking precision in Von der großen Sehnsucht ("Of the Great Yearning") and Genesende ("the Convalescent"). Richard Strauss deploys a romantic counterpoint in his writing – in particular in Von den Hinterweltlern ("Of the Backworldsmen") – and the strings of Lucerne brilliantly bring his limitless lyricism to life. The following works, (Tod und Verklärung, Till Eulenspiegel and finally The Dance of the Seven Veils) bring to mind other epithets that we might apply to this perfect recording: epic majesty, burlesque humour, serpentine voluptuousness: all ingredients of Strauss's symphonic poems. The sound quality does justice to the beauty of the orchestra, and the mix doesn't leave anyone out: every counterpoint is defined, every pizzicato twangs appropriately and we hear even the softest touch of the timbal. Demanding in their extremity (in both nuance and difficulty), these scores make a perfect fit for the Lucerne orchestra, a meeting of the greatest soloists of the international stage, brought together by the festival. The only drawback comes from precisely this concentration of quality. While we are gripped by Salome's Dance of the Seven Veils, we are perhaps more impressed than moved by a piece that has been stripped of some of its finest orchestral ornamentation. © Elsa Siffert/Qobuz