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Classical - To be released November 8, 2019 | Ramée

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Classical - To be released November 1, 2019 | Ramée

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Classical - Released August 16, 2019 | Ramée

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With Cupid’s assistance, the sculptor Pygmalion brings his beloved creation to life. This recording treats us to two versions of the celebrated story. Jean-Philippe Rameau’s familiar oneact opera Pigmalion, in which the deus ex machina fulfils Pygmalion’s desires, is followed by Georg Benda’s little-known gem of the same name: a gripping monodrama for spoken voice and orchestra in which we can imagine the sculptor undergoing an inner conflict between desire and reality. Rising star Korneel Bernolet conducts his Apotheosis Orchestra and a group of young vocal partners: the Canadian haute-contre Philippe Gagné sings the passionate Pigmalion in Rameau’s opéra-ballet, alongside Lieselot De Wilde as his wife Céphise and Caroline Weynants as the divine Amour. Morgane Heyse performs the role of the enchanted Statue in both versions. German bass-baritone Norman D. Patzke makes his debut as voice actor for Benda’s monodrama. © Ramée/Outhere
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Classical - Released July 12, 2019 | Ramée

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In earlier times, adaptations and rearrangements of their own works or those of others formed an integral part of the daily lives of musicians and composers. So-called ‘historically informed’ performance practice, which has developed out of a strictly historical perspective on past eras of music, long left this way of treating an existing composition almost totally unexplored. Today, however, it is enjoying a renaissance and is part of a musician’s training. The idea of arranging Bach’s works is a natural one, since the composer himself was an inveterate transcriber. Most of the programme recorded here consists of solo keyboard works rescored for a chamber formation – in other words, the performers have chosen an approach that is the contrary of Bach’s usual practice. A fascination for the timbral possibilities of the viola da gamba trio and a shared passion for Bach’s music prompted the Cellini Consort to create this original and personal programme. © Ramée
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Chamber Music - Released May 17, 2019 | Ramée

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No eighteenth-century composer was so adept at so many musical styles as Georg Philipp Telemann. Telemann's versatility and inventiveness kept his musical style avant-garde during his entire life. He was not only praised by his contemporaries but was highly respected by the next generation: his fame was immense. Thererfore New Collegium, one of the promising ensembles of the younger generation, has chosen for their first studio recording on the Ramée label to show Telemann the chameleon, the breadth of his musical palette. Some of the pieces will undoubtedly sound familiar; others, such as the Italianate Trio for violin and cello obbligato, or the pastoral Trio for two violins in scordatura, will surely be delightful, new surprises for many. Coming in and out of disguise with Telemann’s chameleonic notes we often find ourselves wondering: is this truly music by just one composer, not six? © Ramée
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Chamber Music - Released March 15, 2019 | Ramée

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Giovanni Benedetto Platti was born in northern Italy and spent some of his youth in Venice, where his father was a violetta player at St Mark’s, before he received his court appointment as an oboist and violinist at the court chapel of Würzburg in 1722. Two years later, the music-loving and cello-playing count of Schönborn, Rudolf Franz Erwein, had managed to secure him as a musician for his own household at his small residence in the county of Wiesentheid. Platti composed - in addition to his ordinary ouptut for worldly and spiritual occasions - for the cello, the Count’s favourite instrument: a dozen sonatas, 28 concerti, 6 duets and over 21 trio sonatas in which the two melodic instruments are not playing at the same height. The music collection of the counts of Schönborn-Wiesentheid very probably consists of Erwein’s personal music library and is today an important historical music archive. Radio Antiqua present in partly world premiere six trio sonatas from that collection, which the count could presumably have played with Platti. © Ramée
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Classical - Released February 22, 2019 | Ramée

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Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life. © Ramée/Outhere
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Classical - Released January 25, 2019 | Ramée

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Jealousy, tenderness, loneliness and longing, desire, unattainability, sensuality, frustration, love, lust and loss in all their configurations come together in Ossesso. The old masters allow us no escape from the painfully vivid portrayals of their experiences. Tromboncino and Gesualdo exemplify the extremes of which obsessiveness is capable, in their music as in their lives; in this sense, they are precursors to Phil Spector, Sid Vicious, or Bertrand Cantat. – A selection of absolutely touching madrigals about love and affliction that represent the kaleidoscope of feelings and emotions of their composers, be it in the late Middle Ages or in the Renaissance, interspersed with some instrumental pieces. © Outhere Music
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Vocal Music (Secular and Sacred) - Released November 2, 2018 | Ramée

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Here's something fascinating: music from the 14th and early 15th centuries, lost for hundreds of years, has now been rediscovered thanks to some space-age technology. Because, in fact, the original manuscripts were never lost. In reality, the paper had been scrubbed and recycled or covered over with palimpsests because of the prohibitive price of parchment at the time. And so a whole body of Florentine works from the era of Petrarch, Boccacio, Dante and Machiavelli was erased to make room for 16th century poems. A careful examination of the San Lorenzo Palimpsest revealed that multi-spectral photography (anyone who knows what that is, raise your hand…) of the pages can render the underlying layer perfectly legible, and so now 111 pages of music from the 14th century can see the light of day. After six hundred years of multi-spectral silence, these pieces are interpreted here by the La Morra ensemble, which specialises in late medieval and Renaissance music with voice and instruments like the lute, vielle, clavicymbalum and recorder. There is an intensity of emotion in hearing these pieces which until now we never knew existed, written by composers of whom we know almost nothing such as Giovanni Mazzuoli and his son Piero, Paolo da Firenze or Jacopo da Bologna. Here they take centre stage. © SM/Qobuz
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Classical - Released October 12, 2018 | Ramée

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The present recording constitutes more than just a new version of the Vespers. It is the first recording of the Vespers in the alternative version proposed by the composer, without concertato instruments. It reveals the underlying matrix of the work we all know, the ‘original version’ to which Monteverdi added concertato instruments for use in large-scale performances. Respecting the structure of the Office of Vespers, Ludus Modalis has chosen to frame the psalms with the antiphons corresponding to a Marian ceremony. The interpretation proposed here is one influenced by the Renaissance tradition. It places the work in perspective in a musical world at the point of equilibrium between prima and seconda prattica, between the achievements of tradition and the contributions of modernity. © Alpha/Outhere
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Classical - Released September 28, 2018 | Ramée

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Alfonso Ferrabosco the Younger, viol player at the court of Elizabeth I and Charles I, was the most innovative and influential composer of viol consort music of his generation. Following the steps of his father, composer Alfonso Ferrabosco the Elder, he continued the specifically English « In Nomine » tradition for viol consort into the seventeenth century while adding his own special touch in the « In Nomine through all parts » in using the cantus firmus in all voices with various rhythms and transpositions. His greatest achievement was the development of an imitative counterpoint perfectly adapted to the viol. The particular character of Ferrabosco's music was determined by his love for architecture and symmetrical forms which were integrated in all possible ways into his Fantasies: flexible motives, augmentations and diminutions of themes and a clear harmonic structure. © Ramée/Outhere
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Duets - Released March 9, 2018 | Ramée

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At a time when Haydn, Mozart and Beethoven dominated musical life in Vienna, Johann Franz Xaver Sterkel (1750-1817) was active at the court of Mainz as a highly respected and acclaimed pianist and composer. In 1768, he received the minor orders and a post as organist and in 1774 he was ordained priest. His first compositions were written at this time: sonatas for piano, violin and cello, arias, and symphonies. At that time he met the Bohemian horn virtuoso Giovanni Punto (born Johann Wenzel Stich) who took some of his early works to Paris. His eight symphonies enjoyed triumphant success at the famous concert series of the “Concert Spirituel” in Paris, were performed some fifty-two times, and Sterkel rose to the rank of the most frequently played composer in Paris from 1777 to 1779. After numerous trips to Italy, Sterkel returned to Mainz in 1782 and devoted himself to composition without interruption from that time onwards. In addition, he confirmed his reputation as a pianist through his intense activity as a soloist and a chamber musician. The works recorded here come from this period of Sterkel's creative career. The Romance from the collection Six pièces pour le clavecin ou piano-forté Op. 24 was published in 1785, the Grande Sonate pour Clavecin ou Piano Forte avec un Violon obligé Op. 25 in 1786, the Six Sonatas Op. 33 and 34, which include the Sonata No. 1 in F major recorded here, were printed in 1792. Although the fortepiano, thanks to its wider range of timbres and its much greater dynamic possibilities, was beginning its unstoppable triumphal progress towards becoming the keyboard instrument of choice in the second half of the eighteenth century, these editions were labelled 'for harpsichord or pianoforte'. However, dynamic markings in the pieces such as 'crescendo' and 'diminuendo' clearly indicate which instrument Sterkel was writing for. Traditionally, in this period, sonatas for keyboard instrument were described as 'with the accompaniment of a violin', as in the works of Mozart and Beethoven. Nevertheless, the violin part in this literature is frequently on par with the piano in terms of virtuosity and musical density. It was only in the last year of the composer's life that the Fantaisie pour le Piano-Forte Op. 45 was published. Although Sterkel was a highly esteemed composer and interpreter in his lifetime and may be seen as a forerunner of Schubert in the realm of the art of the German song, after his death he met the same fate as many of his colleagues: he fell into oblivion. The aim of this recording is to make his charming, inventive and refined music known to a wider audience. © SM/Qobuz
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Full Operas - Released September 9, 2016 | Ramée

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Johann Christoph Pepusch’s English-language masque Venus and Adonis premiered at London’s Theatre Royal on 12 March 1715. Inspired by the operas of composers like Giovanni Battista Bononcini and Alessandro Scarlatti, it was the most substantial effort of the period to ‘reconcile Musick to the English Tongue.’ As part of the battle for supremacy amongst London’s theatres, Pepusch recruited ‘a select Band of the best Masters of Instrumental Musick’ and two of the city’s leading singers, the ‘Italian lady’ Margarita de L’Epine en travesti as Adonis and the contralto Jane Barbier as Venus. The work bristles with Italian virtuosity and dynamism and unlike most English-language dramatic music at the time, Venus and Adonis makes ample use of dramatic recitative. A clear model for Handel’s later Acis and Galatea, this world-premiere recording of Pepusch’s wonderful masque reestablishes the work as a milestone in the history of English opera.
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Classical - Released April 8, 2016 | Ramée

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Classical - Released March 11, 2016 | Ramée

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Classical - Released January 8, 2016 | Ramée

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Classical - Released October 6, 2015 | Ramée

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Classical - Released September 8, 2015 | Ramée

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Classical - Released April 21, 2015 | Ramée

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Classical - Released January 27, 2015 | Ramée

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