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Chanson française - Released November 15, 2019 | Sony Classical

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Classique - Released October 4, 2019 | Sony Classical

Hi-Res Booklet Distinctions 4F de Télérama - Choc Classica de l'année
Like other new virtuosi before him, Lucas Debargue has recorded his own version of a selection of 52 sonatas by Domenico Scarlatti. His affinity with the Italian composer’s particular universe was already revealed in his very first album which showcased four of his sonatas alongside Ravel (a splendid version of Gaspard de la nuit), Liszt and Chopin. The vast corpus of Scarlatti’s 555 sonatas offers an almost infinite amount of inspiration to pianists, with regard to rhythm, as well as to the colour and stylistic approach. Just as we would have expected, the original personality of the French pianist brings a breath of fresh air, sometimes radical, to this delicate music, often bordering on the peculiar. For this new recording from Sony Classical, Lucas Debargue has chosen sonatas which are not often played, and a brand-new instrument, the already legendary 280 VC from the latest generation of the famous Vienna piano-makers Bösendorfer, now entirely owned by the Japanese brand Yamaha. Debargue almost never uses the pedals and has no organological or musicological troubles, claiming to be heavily influenced by Scott Ross’ recordings which he grew up with. Thus Scarlatti’s subtle writing is highlighted with no gimmicks, benefiting from the fine acoustics of the Church of Jesus Christ of Dahlem in Berlin as well as a natural and airy sound recording. The result is a timeless and fascinating vision of this music which walks us through time. © François Hudry/Qobuz
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Piano solo - Released November 1, 2019 | Sony Classical

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Seventeen years after his first Schubert recording, Arcadi Volodos takes us on another dive into the world of Schubert with the very great and very turbulent Sonata in A Major, D.959. Less than two months before his death, Schubert wrote this penultimate sonata, the most fully-developed in terms of the scope of its final movement. In its crepuscular light, it enfolds the darkness of human solitude in Andantino in F Sharp Minor, which protests against a cheap happiness, first with resignation and then with indignation. Then, a cheering, somersaulting call to life, a most Viennese Scherzo, full of insousiance and serenity, which comes before the final and utterly simple movement, which suffers from no "longueur", however "divine"... Preferring intimacy to ostentation, Arcadi Volodos provides a style of expression which is no less captivating for its sobriety. Going from the most gently-whispered pianissimi to extreme fortissimi, his playing style adapts from moment to moment, a velvet touch that paints unique colours. His interior style of performance, its poetic depth, mixed with the classicism of his approach to the work, all add up to an utterly simple and natural Schubertian language. Returning to the very young Schubert, this inspired recital is rounded off with three rare Minuets (including the stunning D.600, which starts out sounding like an aria by Bach), sculpted with peerless grace and purity: a fitting end to a programme of such high musical quality. © GG/Qobuz
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Piano solo - Released November 29, 2019 | Sony Classical

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International stardom has made Lang Lang into an ambassador for the classical repertoire. Sony has chosen Beethoven's 250th birthday to release a compilation that was born of a live concert recorded in Vienna, a city which has seen the birth of so many of the composer's works. The collection takes in Sonata No.3 and No.23, also known as Appassionata. These scores are an imaginary battlefield pitting the writer's contending passions against one another. Beethoven, subject to a compulsive inspiration, uses his writing to guide, even contain, this irresistible force: the greatest liberty dammed up by reason, an apparent paradox which his art summarises well. But here Lang Lang gives us an almost fantastical Beethoven. The pianist has fun with a repertoire which exacerbates contrasts thanks to an immense palette of nuances and several liberties taken with the tempos. Although his level of technique permits him such extravagances, it must be said that he is much more conventional with Beethoven than he is with Rachmaninov. You don't fool around with the Master of Bonn. The record closes on a studio version of the first movement of Sonata No.17 (the famous Tempest), recorded for the video game Gran Turismo 5. The rather grandiloquent switch between its Largo and Allegro sections makes its mark on the text. Lang Lang serves up a very literally visual interpretation of this score, built around the most epic settings that these Beethovian storms permit. © Elsa Siffert/Qobuz
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Classique - Released November 8, 2019 | Sony Classical

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Classique - Released November 8, 2019 | Sony Classical

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Musique de chambre - Released August 17, 2018 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice
What do you mean, “Six evolutions”? It’s an intriguing title, almost esoteric… The cellist Yo-Yo Ma, who needs no introduction after a worldwide career of some fifty years, pens here his third (and ultimate, according to him) recording of Bach’s Solo Cello Suites. The first, while he was in his twenties, gave rise to enthusiasm, the second—in his forties—gave rise to emotion, so what will this final vision give rise to, now that he is in his late sixties? Serenity and joy, probably, and the completion of a triple discographic evolution. That being said, we still cannot explain the “Six evolutions”, and you will have to dive into a small corner of the accompanying booklet to find an indication, giving little more information, it is true, since it comes with no clarification: 1) Nature is at play, 2) Journey toward the light, 3) Celebration, 4) Construction/Development, 5) The struggle for hope, and 6) Epiphany. Well… Whatever it be, and despite what he said—and the amazing quality of this interpretation—let’s meet in 2038 to find out if he doesn’t decide to give a new interpretation in his eighties! © SM/Qobuz
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Classique - Released March 15, 2019 | Sony Classical

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Classique - Released November 22, 2019 | Sony Classical

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This Berio album is like a little museum dedicated to the Italian composer. Famous for his experiments with musical form which involved working quotations into his pieces, this album, Transformation, sees Berio in the role of arranger. The programme is a series of works arranged for orchestra: a motley collection that runs from Bach to the Beatles, via Falla, Boccherini, Mahler, and Brahms. In it, we hear Berio's affinity for the unfinished, and we also see his love for song, whether the singing is being done by the clarinette (wonderful autumnal colours from Daniel Ottensamer), a baritone (Benjamin Appl) or a soprano (Sophia Burgos). The juxtaposition of the works forms a connecting thread. Is it an echo of the composer's clever patchwork style of writing? In the end it's one of Bach's more fascinating scores that dominates the record. We are taken from one sonic world to the other, each re-invented in turn, expanded but not denatured. We trek across the Spain of Falla and Boccherini: we dive into Brahms and Mahler, two composers that Berio would admire for their science and orchestral sounds, and more specifically the former's clarinet sonata – which became a chamber sinfonia concertante – and the latter's youthful Lieder. Finally, we travel through time thanks to a whip-smart, virtuoso exercise in style: the arrangement of three Beatles songs in the baroque style (although the second version of Michelle tends towards a sometimes-atonal romanticism), all a marvellous fit for the outrageous Cathy Berberian, whose Beatles performances were always free and fantastical. In the pit, the Basel symphonic orchestra with Ivor Bolton conducting. What could be a more natural choice for an artist whose archives are held by the Sacher Foundation? © Elsa Siffert/Qobuz
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Opéra - Released February 14, 2014 | Sony Classical

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles Classica - Hi-Res Audio
There are many splendid recordings of Mozart's Le nozze di Figaro that appeal to every taste, but there are relatively few that can be categorized as historically authentic, in the truest sense of the term. Of these, the 2014 Sony release by Teodor Currentzis and Musicaeterna may be the most thoroughly researched and carefully restored version available. Taking pains to consult original sources, and to use period instruments or modern replicas (including a fortepiano, a lute, and even a hurdy-gurdy), Currentzis creates a Classical sound that works brilliantly with the score as written and as Mozart intended, and makes the music as vivid and exciting as possible. Currentzis also has called for a historical approach to singing, and embellishments that were typical of Mozart's day are employed, as well as a more intimate delivery and purer vocal style with less vibrato. The cast may not feature international stars, but the artists are well-suited to Currentzis' goals of presenting Figaro in true period practice. Prominent in this production are Andrei Bondarenko as Count Almaviva, Simone Kermes as the Countess, Fanie Antonelou as Susanna, Mary-Ellen Nesi as Cherubino, and Christian van Horn as Figaro, who give their roles distinctive characterizations along with their impeccable vocal production. Sony's recording is rich in details and close enough to the musicians to give a front-row feeling. Le nozze di Figaro is presented on three CDs in a deluxe hardcover book that includes an interview with the conductor and the complete libretto in English, Italian, German, and French.
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Classique - Released November 8, 2019 | Sony Classical

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Bandes originales de films - Released November 22, 2019 | Sony Classical

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Bandes originales de films - Released January 13, 2017 | Sony Classical

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Classique - Released November 15, 2019 | Sony Classical

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Bandes originales de films - Released November 8, 2019 | Sony Classical

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Musique concertante - Released October 8, 2010 | Sony Classical

Distinctions The Qobuz Ideal Discography
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Piano solo - Released April 7, 2017 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Gramophone Award - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Classique - Released November 4, 2016 | Sony Classical

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Classique - Released October 11, 2019 | Sony Classical

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After records dedicated to Berlin in the 1930s, or to the Italy of La Dolce Vita, now Jonas Kaufmann is offering us some sugary Viennese delights, in keeping with the spirit of his 2014 album Du bist die Welt für mich, which covers German and Viennese operetta from 1925 to 1935. This new release rounds off an eternal and unchanging vision of an imagined Vienna. The net is cast wide, with works by Johann Strauss Jr., Robert Stolz and Franz Lehár, matched by pearls from lesser-known composers (Kalman, Zeller, Leopoldi, Weinberger, Benatzky, Kreuder, Georg Kreisler), who each bring their own stone to this monument to the great capital of music. While you might catch yourself humming along to Wiener Blut with Jonas Kaufmann (here with Rachel Willis-Sørensen), this superbly put-together programme offers some pleasant surprises in the form of unknown airs. Most luxurious of all is the discreet, never-invasive accompaniment from the Vienna Philharmonic Orchestra, in disguise here as an opulent "faubourg orchestra", most ably conducted by the Hungarian Adam Fischer. It's folk music of course, but sung with a supreme elegance and the technique of an opera singer at the height of their vocal and expressive powers. © François Hudry/Qobuz

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