JULY 29 wp - Harmonia Mundi UK Distribution
JULY 29 wp - Harmonia Mundi UK Distribution
JULY 29 wp - Harmonia Mundi UK Distribution
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harmonia mundi <strong>UK</strong><br />
Classical new release<br />
DISTRIBUTED LABELS:<br />
actes sud musicales, agogique, alia vox,<br />
ambronay, aparte, arte verum, audite,<br />
bel air classiques,<br />
the choir of kings college cambridge,<br />
christophorus, cso resound, delphian, ducale,<br />
fra musica, glossa, harmonia mundi,<br />
hat[now]art, K617, la dolce volta, lso live,<br />
mariinsky, melisande films, mirare, mode,<br />
muso, naïve, onyx, opella nova, orfeo,<br />
pan classics, paradizo, pearl,<br />
philharmonia baroque, phil.harmonie,<br />
praga digitals, radio france,<br />
royal academy of music,<br />
real compañia ópera de cámara, rco live,<br />
sfz music, signum classics, stradivarius,<br />
united archives, wahoo, walhall eternity, wergo,<br />
wigmore hall live, winter & winter, ysaye<br />
available <strong>29</strong> July , call-off 19th July<br />
<strong>JULY</strong> <strong>29</strong> 2013
AUGUST<br />
BBC MUSIC MAGAZINE<br />
Opera Choice<br />
• DUCALE DUC045/47 Mercadante I Due Figaro/Riccardo Muti<br />
Instrumental Choice<br />
• harmonia mundi HMU907557 Francesco da Milano Il Divino / Paul O’Dette<br />
Chamber Choice<br />
• Onyx ONYX 4116 Rachmaninov, Shostakovich Sonatas<br />
Leonard Elschenbroich (cello), Alexei Grynyuk (piano)<br />
<strong>JULY</strong><br />
GRAMOPHONE<br />
EDITOR’S CHOICE<br />
• harmonia mundi HMU907557 Francesco da Milano Il Divino / Paul O’Dette<br />
EDITOR’S CHOICE & BBC MUSIC MAGAZINE DISC OF THE MONTH [June]<br />
• Glossa GCD922606 I viaggi di Faustina / Roberta Invernizzi<br />
<strong>JULY</strong>/AUGUST<br />
INTERNATIONAL RECORD REVIEW<br />
IRR Outstanding<br />
• harmonia mundi HMU907557 Francesco da Milano Il Divino / Paul O’Dette<br />
• Aparté AP054 Art Nouveau Ravel etc / Teodora Gheorghiu
Label: harmonia mundi<br />
File Under: Classical/Choral<br />
Catalogue No: HMU807572<br />
Barcode: 093046757267<br />
NORMAL Price<br />
Format: 1 HYBRID SACD<br />
Packaging: digipack<br />
Stile Antico<br />
William BYRD: Ave verum corpus,<br />
Mass for five voices<br />
Thomas TALLIS: Salvator mundi (I)<br />
Thomas MORLEY: Nolo mortem peccatoris<br />
Orlando GIBBONS: O clap your hands together,<br />
Almighty and everlasting God<br />
Robert WHITE: Portio mea,<br />
Christe qui lux es et dies (IV)<br />
John TAVERNER: O splendor gloriae<br />
The Phoenix Rising<br />
The Carnegie Trust & the revival of Tudor Church Music<br />
Stile Antico<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Amongst the many endeavours funded by the Carnegie Trust marking its centenary in 2013), was the publication and<br />
editing of 'Tudor Church Music' in ten large folio volumes of music, with 50 performing pieces published individually. This<br />
had a considerable impact on the revival of this important music: for the first time a significant body of the greatest Tudor<br />
compositions became accessible to scholars, performers and listeners having languished in cathedrals, museums and<br />
colleges. It also inspired a further generation of English composers after its resurrection including Howells, Britten and<br />
Vaughan Williams.<br />
Stile Antico presents a varied selection of the finest pieces from TCM in a programme centred around William Byrd’s<br />
masterful five-part mass.<br />
Stile Antico is an elite ensemble of young British singers, working without a conductor, each contributing artistically to the<br />
musical result. They are now established as the crack ensemble to beat, having enjoyed huge success, via their SACD<br />
recordings for harmonia mundi USA. Awards include the 2009 Gramophone Award for Early Music [Song of Songs]<br />
which also reached the top of the US Classical Chart.<br />
Their performances have repeatedly been praised for their vitality, commitment and imaginative response to text.<br />
Highlights of Stile Antico's 2012-13 season include a series of concerts as co-curators of the Wigmore Hall's William<br />
Byrd: Sacred Music festival, and this new recording celebrating the centenary of the Carnegie <strong>UK</strong> Trust, publisher of the<br />
pioneering Tudor Church Music edition.<br />
Carnegie Trust: changing minds, changing lives 1913-2013<br />
Set up by Andrew Carnegie in 1913 to improve the wellbeing of the people of the United Kingdom and Ireland, it is one of<br />
the oldest and most respected charitable trusts in the British Isles. The Carnegie medal of philanthropy, given to those<br />
who have dedicated their private wealth to public good, will be presented in the Scottish Parliament in October 2013, in a<br />
week of events seeking to engage the Scottish public with the legacy of Andrew Carnegie.<br />
ADVERTISED IN CLASSICAL MUSIC PRESS<br />
Gramophone online news story<br />
1st August: In Tune performance singing works from the new recording
Label: harmonia mundi<br />
File Under: Classical/Orchestral<br />
Catalogue No: HMC902146<br />
Barcode: 3149020214626<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Isabelle Faust [violin]<br />
Swedish Radio Symphony Orchestra<br />
Daniel Harding [conductor]<br />
ADVERTISED IN GRAMOPHONE<br />
IRR Cover artist September<br />
BBC Music 1st Listen podcast<br />
BARTOK Violin Concertos<br />
Violin Concerto No.1, Sz 36 Op. posth.<br />
Violin Concerto No.2, Sz 112<br />
Isabelle Faust<br />
Swedish Radio Symphony Orchestra<br />
Daniel Harding<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Isabelle Faust's first recording for harmonia mundi, Bartok Sonatas, won her a Gramophone Young Artist of the Year.<br />
Here she returns to Bartok, perfoming the two concertos, accompanied by Daniel Harding and the Swedish Radio SO.<br />
Such is the fame of Bartók’s Second Violin Concerto (1937-38), that it has virtually eclipsed the First, written 30 years<br />
before. Yet, this earlier work, rediscovered long after the composer’s death, has a fascinating story all of its own. True to<br />
form, Isabelle Faust has gone back to the multiple musical sources of this First Concerto, a work that came ‘straight<br />
from the heart’, as Bartók’s romance with a young violinist lay at the core of its creative process.<br />
"I owe my enthusiasm for the music of Béla Bartók to the wonderful Hungarian violinist Dénes Zsigmondy, who was<br />
privileged to know the composer personally. At the age of eleven, I was lucky enough to study the Sonata for solo violin<br />
with him and thus to discover Bartók’s world in a very emotional and instinctive way. In the years since then, Dénes<br />
Zsigmondy, his conception of music, and especially his interpretation of Bartók have formed an important component of<br />
my artistic career. It seemed only logical to choose the Bartók sonatas for my debut CD. I am now delighted to present<br />
the two violin concertos in this recording. It is intended as a musical expression of my admiration for the composer Béla<br />
Bartók and my gratitude for the continued inspiration and faithful friendship of Dénes Zsigmondy.<br />
My warm thanks go to László Somfai and László Vikárius of the Bartók Archives in Budapest and to Felix Meyer of the<br />
Paul Sacher Foundation in Basel for their generous support of this project.<br />
Finally, I would like to express my profound appreciation of and indebtedness to Daniel Harding and the Swedish Radio<br />
Symphony Orchestra for their absolutely fantastic contribution to the recording sessions." Isabelle Faust<br />
"Her sound has passion, grit and electricity but also a disarming warmth and sweetness that can unveil the music’s hidden<br />
strains of lyricism" The New York Times<br />
ALSO AVAILABLE:<br />
HMG508334/35 Bartok Violin Sonatas [2cds]
Label: harmonia mundi<br />
File Under: Classical/Choral<br />
Catalogue No: HMC902169<br />
Barcode: 3149020216927<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Ensemble Correspondances<br />
Sébastien Daucé [conductor]<br />
Ens Correspondances on our Youtube channel:<br />
http://bit.ly/19EKXzN<br />
CHARPENTIER: Litanies de la Vierge<br />
Motets for the House of Guise: Miserere H193, Antienne H526<br />
Annunciate superi H333, Overture H536, Litanies de la Vierge H83<br />
Ensemble Correspondances<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
In their first release on harmonia mundi France, Sébastien Daucé and his musicians present a sumptuous interpretation<br />
of the six-voice motets composed by Marc-Antoine Charpentier for the House of Guise. These works, headed by the<br />
'Miserere', constitute an unexpected parenthesis in the music of the Grand Siècle. The creative genius, the inwardness<br />
and the intense fervour of a composer surrounded by his faithful company of singers and instrumentalists speak to us all<br />
the more intimately because Charpentier appears here as both copyist (the surviving scores are in his handwriting) and<br />
performer: he sang countertenor.<br />
Since its formation in 2008, the Ensemble Correspondances has devoted itself chiefly to French sacred music of the 17th<br />
century. Brought together by Sébastien Daucé during their studies at the Conservatoire de Lyon, the musicians of<br />
Correspondances pursue this work (focusing notably on Marc-Antoine Charpentier) with infectious enthusiasm. Its most<br />
recent engagements have taken it to Royaumont, Ambronay, Lanvellec and Pontoise festivals, Rome, Hamburg and<br />
Hong Kong.<br />
After postgraduate study with Yves Rechsteiner and Françoise Lengellé at the CNSM de Lyon, Sébastien Daucé went on<br />
to play under the direction of such conductors as Kenneth Weiss, Gabriel Garrido, Geoffroy Jourdain (Les Cris de Paris)<br />
and Raphaël Pichon (Ensemble Pygmalion). For the past few years he has dedicated himself to the music of<br />
Marc-Antoine Charpentier, three of whose operas he edited in collaboration with William Christie. His first two recordings<br />
with the Ensemble Correspondances, both for Zig-Zag Territoires, earned him widespread praise in the specialist press,<br />
with such distinctions as the Choc de Classica, Diapason Découverte, Coup de Cœur de l’Académie Charles Cros and<br />
**** in Fono Forum.
Label: harmonia mundi<br />
File Under: Classical/Contemporary<br />
Catalogue No: HMU907580<br />
Barcode: 093046758028<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: slipcased<br />
Conspirare / Craig Hella Johnson<br />
Baltimore Symphony Orchestra<br />
Marin Alsop [conductor]<br />
Kevin PUTS: Symphony No.4<br />
To touch the sky, If I were a swan<br />
Conspirare<br />
Baltimore Symphony Orchestra<br />
Marin Alsop<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Pulitzer Prize-winning composer Kevin Puts (b. 1972) is known for his distinctive and richly coloured musical voice.<br />
Making their label début, Marin Alsop and the Baltimore Symphony Orchestra perform Kevin Puts’ Symphony No.4 (From<br />
Mission San Juan), inspired by Native American melodies. Opening this programme of world première recordings, Craig<br />
Hella Johnson leads Conspirare in two choral settings of texts by women poets: 'To Touch the Sky' and 'If I Were a<br />
Swan'.<br />
Winner of the 2012 Pulitzer Prize for 'Silent Night', an opera commissioned by Minnesota Opera and co-written with<br />
librettist Mark Campbell, Kevin Puts has been hailed as one of the most important composers of his generation. His work<br />
has been commissioned and performed by leading orchestras in the United States and abroad, including the New York<br />
Philharmonic, Tonhalle-Orchester (Zurich), the Saint Louis Symphony, Houston Symphony, and the Minnesota<br />
Orchestra, and by soloists and chamber ensembles such as Evelyn Glennie, Yo-Yo Ma, Jeffrey Kahane, the Eroica Trio<br />
and the Miro Quartet.<br />
A native of St. Louis, Missouri, he received his training as a composer and pianist at the Eastman School of Music and<br />
Yale University. Since 2006, he has been a member of the composition department at the Peabody Institute in Baltimore,<br />
Maryland.
Label: Signum Classics<br />
File Under: Classical/Opera &<br />
Vocal<br />
Catalogue No: SIGCD348<br />
Barcode: 635212034828<br />
2 FOR 1.5<br />
Format: 2 CD<br />
Packaging: cristal<br />
Chorus of Opera North<br />
Chorus of the Guildhall School of Music &<br />
Drama<br />
Britten–Pears Orchestra<br />
Steuart Bedford [conductor]<br />
BRITTEN: Peter Grimes [Grimes on the Beach]<br />
Alan Oke [Peter Grimes]<br />
Giselle Allen [Ellen Orford]<br />
David Kempster [Captain Balstrode]<br />
Gaynor Keeble [Auntie]<br />
Alexandra Hutton [First Niece]<br />
Charmian Bedford [Second Niece]<br />
Robert Murray [Bob Boles]<br />
Henry Waddington [Swallow]<br />
Catherine Wyn-Rogers[Mrs Sedley]<br />
Christopher Gillett [Rev. Horace Adams]<br />
Charles Rice [Ned Keene]<br />
Stephen Richardson [Hobson]<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Britten’s powerful and masterful evocation of the North Sea in all its moods has become inextricably linked, to audiences<br />
all over the world, with the Aldeburgh that was home to Crabbe in the 18th century and Britten in the 20th.<br />
Steuart Bedford leads a vast and accomplished group of performers on this new recording, created shortly before the<br />
company performed the work on the beach at Aldeburgh as part of the festival, further celebrating Britten's centenary<br />
year, 2013.<br />
Rave reviews on the Independent, Guardian, Artsdesk websites and on Gramophone's blog
Label: FRA Musica<br />
File Under: Classical/Opera &<br />
Vocal<br />
Catalogue No: FRA008<br />
Barcode: 3770002003138<br />
NORMAL Price<br />
Format: 1 DVD, NTSC 16:9<br />
Elliot Madore [Ramiro]<br />
François Piolino [Torquemada]<br />
Stéphanie d’Oustrac [Conception]<br />
Alek Shrader [Gonzalve]<br />
Paul Gay [Don Inigo Gomez]<br />
Khatouna Gadelia, Elodie Mechain,<br />
Elliot Madore, Paul Gay<br />
Julie Pasturaud, François Piolino,<br />
Kathleen Kim, Natalia Brzezinska,<br />
Hila Fahima, Stéphanie d’Oustrac,<br />
Kirsty Stokes<br />
RAVEL: L’Enfant et les Sortilèges & l’Heure Espagnole<br />
Glyndebourne, August 2012, production by Laurent Pelly<br />
Elliot Madore<br />
Stéphanie d’Oustrac<br />
London Philharmonivc Orchestra<br />
Kazuki Ono<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Ravel’s two one-act operas reunited in 2012 director Laurent Pelly and conductor Kazushi Ono, who made their<br />
Glyndebourne debuts in 2008 with Humperdinck’s 'Hänsel und Gretel'.<br />
While 'l’Enfant et les Sortilèges' shares with that opera a child’s-eye view of a sometimes threatening world, 'l’Heure<br />
Espagnole' is a thoroughly adult confection. Pelly addresses Ravel’s very different operas with imagination, wit and –<br />
when required – humanity.<br />
These productions were streamed live on the Guardian's website, see the link for an excellent synopsis<br />
[http://www.guardian.co.uk/music/2012/aug/14/glyndebourne-2012-ravel-double-bill-synopsis-cast-creatives] and given in<br />
concert performance at the Proms 2012 to rapturous acclaim.<br />
"Glyndebourne's new double bill of L'heure espagnole and L'enfant et les sortilèges matches the composer's ethereal<br />
precision with near flawless performances and dazzling stagings, conducted by Kazushi Ono...beautifully rendered by the<br />
London Philharmonic Orchestra in full erotic flight.<br />
Ensemble cast and chorus excelled... A friend of Ravel's once described this small, dapper man, whose favourite<br />
possession was a mechanical nightingale in a gilded cage, as both a child and an old man. He would surely have been<br />
overjoyed by this near perfect double bill." Fiona Maddocks, The Guardian, 12/8/2012<br />
"Pelly and his team have worked a miracle here – everything works and everything fits. The dusky, misty lighting is<br />
superb in creating something off-the-wall, and not just the wallpaper, allowing all the tormented characters to wreak<br />
revenge on the Child in a hallucination and nowhere more so than in the garden where animals and forestry are simply<br />
captivating. Surreal, yes, but the boy has created his own nightmare.<br />
There isn’t a weak link in the cast – most of the singers from L’Heure espagnole returning to multi-task; and there is<br />
some great choreography and costumes, too. The music’s jazziness, pastiche, suggestion and compassion are treated<br />
as one by Ono and handsomely delivered by a meticulous LPO.<br />
The ovation that the first-night audience afforded this very special staging was fully justified – it’s been a while since I<br />
have seen trees bowing in strict formation! This Ravel pairing is one of Glyndebourne’s finest two hours, L’Enfant et les<br />
sortilèges being exceptional in every dreamlike and frightening particular." Colin Anderson, Classical Source
Label: FRA Musica<br />
File Under: Classical/Opera &<br />
Vocal<br />
Catalogue No: FRA508<br />
Barcode: 3770002003145<br />
NORMAL Price<br />
Format: 1 Blu-ray<br />
Elliot Madore [Ramiro]<br />
François Piolino [Torquemada]<br />
Stéphanie d’Oustrac [Conception]<br />
Alek Shrader [Gonzalve]<br />
Paul Gay [Don Inigo Gomez]<br />
Khatouna Gadelia, Elodie Mechain,<br />
Elliot Madore, Paul Gay<br />
Julie Pasturaud, François Piolino,<br />
Kathleen Kim, Natalia Brzezinska,<br />
Hila Fahima, Stéphanie d’Oustrac,<br />
Kirsty Stokes<br />
RAVEL: L’Enfant et les Sortilèges & l’Heure Espagnole<br />
Glyndebourne, August 2012, production by Laurent Pelly<br />
Elliot Madore<br />
Stéphanie d’Oustrac<br />
London Philharmonic Orchestra<br />
Kazuki Ono<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Ravel’s two one-act operas reunited in 2012 director Laurent Pelly and conductor Kazushi Ono, who made their<br />
Glyndebourne debuts in 2008 with Humperdinck’s 'Hänsel und Gretel'.<br />
While 'l’Enfant et les Sortilèges' shares with that opera a child’s-eye view of a sometimes threatening world, 'l’Heure<br />
Espagnole' is a thoroughly adult confection. Pelly addresses Ravel’s very different operas with imagination, wit and –<br />
when required – humanity.<br />
These productions were streamed live on the Guardian's website, see the link for an excellent synopsis<br />
[http://www.guardian.co.uk/music/2012/aug/14/glyndebourne-2012-ravel-double-bill-synopsis-cast-creatives] and given in<br />
concert performance at the Proms 2012 to rapturous acclaim.<br />
"Glyndebourne's new double bill of L'heure espagnole and L'enfant et les sortilèges matches the composer's ethereal<br />
precision with near flawless performances and dazzling stagings, conducted by Kazushi Ono...beautifully rendered by the<br />
London Philharmonic Orchestra in full erotic flight.<br />
Ensemble cast and chorus excelled... A friend of Ravel's once described this small, dapper man, whose favourite<br />
possession was a mechanical nightingale in a gilded cage, as both a child and an old man. He would surely have been<br />
overjoyed by this near perfect double bill." Fiona Maddocks, The Guardian, 12/8/2012<br />
"Pelly and his team have worked a miracle here – everything works and everything fits. The dusky, misty lighting is<br />
superb in creating something off-the-wall, and not just the wallpaper, allowing all the tormented characters to wreak<br />
revenge on the Child in a hallucination and nowhere more so than in the garden where animals and forestry are simply<br />
captivating. Surreal, yes, but the boy has created his own nightmare.<br />
There isn’t a weak link in the cast – most of the singers from L’Heure espagnole returning to multi-task; and there is<br />
some great choreography and costumes, too. The music’s jazziness, pastiche, suggestion and compassion are treated<br />
as one by Ono and handsomely delivered by a meticulous LPO.<br />
The ovation that the first-night audience afforded this very special staging was fully justified – it’s been a while since I<br />
have seen trees bowing in strict formation! This Ravel pairing is one of Glyndebourne’s finest two hours, L’Enfant et les<br />
sortilèges being exceptional in every dreamlike and frightening particular." Colin Anderson, Classical Source
Label: NAÏVE<br />
File Under: Classical/Opera &<br />
Vocal<br />
Catalogue No: OP30549<br />
Barcode: 709861305490<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Roberta Invernizzi [soprano]<br />
Sonia Prina [contralto]<br />
Ensemble Claudiana<br />
Luca Pianca [lute, conductor]<br />
Amore e morte dell’amore<br />
Duets by Monteverdi, Marcello, Handel, Scarlatti, Lotti, Durante<br />
Roberta Invernizzi<br />
Sonia Prina<br />
Luca Pianca<br />
MONTEVERDI: Interrotte speranze, Mentre vaga Angioletta, ‘Pur ti miro’ from L’incoronazione di Poppea,<br />
Ohimè, dov’è il mio ben, Vorrei baciarti<br />
MARCELLO: Se morto mi brami<br />
HANDEL: Tanti strali<br />
Lotti: Giuramento amoroso<br />
D. SCARLATTI: Sonata K 90<br />
DURANTE: Son io barbara donna<br />
HANDEL: Sono liete, fortunate<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
This recording gathers together vocal gems from the Italian baroque and some of the most renowned artists in this<br />
repertoire: Il Giardino Armonico’s co-founder Luca Pianca, soprano Roberta Invernizzi and contralto Sonia Prina.<br />
This intense and heart-stretching programme on love and sadness gathers a series of amazing duets by Monteverdi,<br />
Handel (when living in Italy), Marcello, Scarlatti, Lotti...
Label: NAÏVE<br />
File Under: Classical/Opera &<br />
Vocal<br />
Catalogue No: V5351<br />
Barcode: 822186053515<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Sandrine Piau, Patricia Petibon,<br />
Julia Lezhneva, Lucy Crowe,<br />
Véronique Gens, Felicity Lott,<br />
Karina Gauvin, Verónica Cangemi,<br />
Barbara Schlick, María Bayo,<br />
Gemma Bertagnolli, Rosana Bertini,<br />
Gäelle Arquez<br />
The Sopranos<br />
Sandrine Piau, Patricia Petibon,<br />
Julia Lezhneva, Lucy Crowe,<br />
Véronique Gens, Felicity Lott,<br />
Karina Gauvin, Verónica Cangemi,<br />
María Bayo<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Much like the American television series of the same name, the sopranos are a large family: although they all play the<br />
same role, stylistically speaking they are quite diverse, with the term 'soprano' encompassing a wide variety of voices.<br />
Let’s take a closer look!<br />
First come the coloratura sopranos, outstanding for their stratospheric high notes. Patricia Petibon is a great example;<br />
her voice is both agile and pure in Henry Purcell’s "Bid the Virtues", in which she and an oboe share a subtle musical<br />
conversation. Voices like Julia Lezhneva’s, which effortlessly negotiate wide leaps between the low and high registers,<br />
are known as coloratura mezzos. Lezhneva performs two excerpts from Italian opera here: in the first, from Vivaldi’s<br />
'Orlando furioso', she demonstrates flawless virtuosity and a rich timbre. The second, "Tanti affetti”, from Rossini’s 'La<br />
donna del lago', showcases her ease in perilous scales.<br />
The term 'light' soprano refers to a bright voice that is at home in the baroque and classical repertoires. Sandrine Piau,<br />
an exceptional Mozart performer, gives a dazzling rendition of “Ach, ich fühl’s” from 'The Magic Flute'. Barbara Schlick,<br />
who stands out for her interpretations of Bach’s music and her great respect for the text, sings an excerpt from Bach's<br />
Cantata BWV180. Magnificent performances by light sopranos Rosanna Bertini, in Monteverdi’s 'Lamento della ninfa',<br />
and Gemma Bertagnolli (in “Cujus animam” from Pergolesi’s 'Stabat Mater') round out the programme.<br />
A 'lyric' soprano generally indicates a voice with a solid and generous medium register. Lyric sopranos are excellently<br />
suited to the music of the 19th century as well as to Handel’s music. Here Lucy Crowe offers a highly convincing version<br />
of Handel’s “The Soft Complaining Flute” from the 'Ode for St. Cecilia’s Day'. Veronica Cangemi’s lusciously dark tone<br />
takes the well-loved “Lascia ch’io pianga” to new poetic heights, and Karina Gauvin demonstrates astounding control in<br />
“Piangerò” from 'Giulio Cesare'. Maria Bayo displays her abilities as a lyric soprano with an aptitude for coloratura singing<br />
in the exquisite 'Exsultate jubilate' by Mozart.<br />
The 'dramatic' soprano is the most intense soprano voice, as Véronique Gens, a habitué of tragic roles, ably shows in an<br />
excerpt from Mozart’s 'Don Giovanni', with her powerful performance of “Mi tradi quell’alma ingrata”, illustrating Donna<br />
Elvira’s tormented mind. These vocal categories do not define a singer for the whole of her career, however, and certain<br />
sopranos change registers with the passing years. Gäelle Arquez’s rare recording of “Amerò” from Vivaldi’s 'Orlando'<br />
demonstrates her talents as both a soprano and as a mezzo. Other voices simply defy classification. Such is the case of<br />
the inimitable Felicity Lott, who sings “Plaisir d’amour” with typically immaculate diction.<br />
full track listing available on request
Label: Audite<br />
File Under: Classical/Orchestral<br />
Catalogue No: AUDITE92669<br />
Barcode: 4022143926692<br />
NORMAL Price<br />
Format: 1 HYBRID SACD<br />
Packaging: digipack<br />
WDR Sinfonieorchester Köln<br />
Eivind Aadland [conductor]<br />
Edvard GRIEG: Complete Symphonic Works • Vol. III<br />
WDR Sinfonieorchester Köln<br />
Eivind Aadland<br />
Concert Overture ‘In Autumn’, Op. 11, Lyric Suite, Op. 54, Klokkeklang, Op. 54, No. 6<br />
Old Norwegian Melody with Variations, Op. 51, Three Orchestral Pieces from ‘Sigurd Jorsalfar’, Op. 56<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
The WDR Sinfonieorchester and the Norwegian conductor Eivind Aadland continue their survey of Edvard Grieg’s<br />
orchestral works with this selection from the composer’s orchestral repertoire which he liked to conduct himself across<br />
Europe. Not all of Grieg’s orchestral works were originally conceived as such. As he became increasingly famous as a<br />
composer and conductor, the Norwegian also arranged piano works which later became popular above all in their<br />
orchestral versions. Amongst these is the suite from his 'Lyric Pieces', Op. 54, to which belongs another single piece, the<br />
almost impressionist study, 'Bell Ringing'. The 'Old Norwegian Melody with Variations', Op. 51, originally a set of<br />
variations for two pianos, was also skilfully provided with orchestral colours, at the same time increasing the musical<br />
drama. The Concert Overture 'In Autumn', completed by the 22-year-old composer during a stay in Rome, creates an<br />
exception: it was apparently conceived from the outset as an orchestral work, but as initially published as a piano piece<br />
and orchestrated at a later stage. Amongst all these innovative works, the only 'original' ones are the three pieces from<br />
the incidental music to Bjørnstjerne Bjørnson’s Norwegian play 'Sigurd Jorsalfar', of which the "Homage March" remains<br />
an obligatory item to the present day at coronations and festivities of the high nobility.<br />
Eivind Aadland was chief conductor and artistic director of the Trondheim Symphony Orchestra from 2003 until 2010 and<br />
has also worked with many other Scandinavian, European and international orchestras. Aadland initially studied the violin<br />
with Yehudi Menuhin. From 1981 until 1989 he was concert master of the Bergen Philharmonic and from 1987 until 1997<br />
music director of the European Union Chamber Orchestra. He subsequently devoted himself fully to his conducting<br />
career and studied with Jorma Panula.<br />
ALSO AVAILABLE:<br />
• AUDITE92651 Edvard Grieg: Complete Symphonic Works, Vol. I<br />
Symphonic Dances, Peer Gynt Suites, Funeral March<br />
GRAMOPHONE EDITOR'S CHOICE<br />
• AUDITE92579 Edvard Grieg: Complete Symphonic Works, Vol. II<br />
Two Elegiac Melodies, Op. 34, From Holberg’s Time, Op. 40, Two Melodies, Op. 53 (Norsk / Det første møte), Two<br />
Nordic Melodies, Op. 63 (I folketonestil / Kulokk & Stabbelåten)
Label: RCO Live<br />
File Under: Classical/Orchestral<br />
Catalogue No: RCO13002<br />
Barcode: 5425008378961<br />
NORMAL Price<br />
Format: 1 hybrid SACD+bluray<br />
Packaging: cristal<br />
Christine Brewer, Camilla Nylund<br />
Maria Espada, Stephanie Blythe,<br />
Mihoko Fujimura, Robert Dean Smith<br />
Tommi Hakala, Stefan Kocán<br />
Netherlands Radio Choir<br />
State Choir 'Latvija'<br />
Bavarian Radio Choir<br />
National Boys Choir<br />
National Children's Choir<br />
MAHLER: Symphony No. 8<br />
with bonus bluray<br />
Royal Concertgebouw Orchestra<br />
Mariss Jansons<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
"Try to imagine the whole universe beginning to ring and resound. There are no more human voices, only planets and<br />
suns revolving in their orbits," wrote Gustav Mahler to his friend, Willem Mengelberg, on 18 August 1906. The day before,<br />
he had completed the sketches of the Eighth Symphony in little more than three weeks, and that after a very hectic<br />
season.<br />
The legendary relationship between Gustav Mahler, the Royal Concertgebouw Orchestra and Willem Mengelberg has<br />
established a firm tradition of playing Mahler in Amsterdam. During the 1960s the orchestra and Bernard Haitink started<br />
recording a Mahler discography that still remains one of the cornerstones of any Mahlerian's collection. Ricccardo<br />
Chailly's tenure as chief conductor yielded another brilliant Mahler cycle and now Mariss Jansons is steadily building his<br />
tribute to the composer.<br />
Recorded during the same Mahler cycle as the recently released Symphonies Nos. 2 and 3 – part of the full Mahler cycle<br />
that the orchestra performed in the 2009-2011 seasons to celebrate the composer's 150th birthday and 100th<br />
anniversary of his death - Mariss Jansons's interpretation of the Eight Symphony is one more jewel in the crown of the<br />
Royal Concertgebouw Orchestra; with a star-studded cast and excellent choral forces, this 'Symphony of a Thousand' left<br />
a lasting impression on the audience.<br />
"Triumph for Jansons in Mahler 8. …this was a performance to frame in gold, with the RCO and assembled choirs in<br />
great shape. Happily cameras and microphones witnessed this miracle." Peter van der Lint, Trouw<br />
The SACD/DVD version of this work will be [well] reviewed on Radio 3, 6th July, RCO13003
Label: Praga Digitals<br />
File Under: Classical/Instrumental<br />
Catalogue No: DSD350080<br />
Barcode: 3149028027723<br />
NORMAL Price<br />
Format: 1 HYBRID SACD<br />
Packaging: cristal<br />
Svjatoslav Richter [piano]<br />
BRAHMS: Piano Works<br />
Svjatoslav Richter<br />
Piano Sonata No.2 Op.2, Variations On A Hungarian Song Op.21 No.2<br />
Piano Sonata No.1 Op.1, Ballade Op.118/3, Intermezzo Op.118 No.6, Intermezzo Op.119 No.3<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Svjatoslav Richter, unlike his childood friend Gilels, was not an ardent proponent of Brahms' repertoire. Considering that<br />
in 1948 Richter performed only the famous Concerto in B flat, Op. 81, this rare recital makes the young Brahms come<br />
across as an intuitive, even prophetic composer rather than merely discursive.<br />
Recorded live in Prague: stereo July 20 1988, June 1984;<br />
in Plzen, mono June 13 1984, previously released on PRD254059; stereo live in Leipzig No. 28 1963
Label: signum<br />
File Under: Classical/Choral/Contemporary<br />
Catalogue No: SIGCD335<br />
Barcode: 635212033524<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: cristal<br />
The Choir of The Queen's College, Oxford<br />
Owen Rees [director]<br />
David BEDNALL: Welcome All Wonders<br />
A Christmas Cantata<br />
The Choir of The Queen's College, Oxford<br />
Owen Rees<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
'Welcome all Wonders: A Christmas Cantata' is a large-scale work for choir, organ and trumpet spanning 15 movements.<br />
It celebrates the Christmas story through an imaginative selection and juxtaposition of poetry and liturgical texts, and<br />
provides a multifaceted telling of the familiar narrative. The celebratory aspects of Christmas are tainted by darker<br />
themes that are inherent to the story but are easily overlooked, culminating in an enlightened and engaging work that<br />
explores the Christmas story in a profound manner.<br />
The Choir of The Queen’s College, Oxford is among the finest and most active university choirs in the <strong>UK</strong>. Its<br />
wide-ranging repertory includes a rich array of Renaissance and Baroque music and contemporary works.<br />
WORLD PREMIERE RECORDING
Label: Signum Classics<br />
File Under: Classical/Instrumental<br />
Catalogue No: SIGCD334<br />
Barcode: 635212033425<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: cristal<br />
Joseph Nolan<br />
[Cavaillé-Coll organ of La Madeleine, Paris]<br />
WIDOR: The Complete Organ Symphonies, Vol.3<br />
Organ Symphony No.3 in E minor, Op.13<br />
Organ Symphony No.4 in F minor, Op.13<br />
Joseph Nolan<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
The third volume in a new series of Charles-Marie Widor’s Organ Symphonies, performed by Joseph Nolan on the<br />
magnificent Cavaillé-Coll organ of L’église de la Madeleine, Paris.<br />
Bridging the generations from Mendelssohn to Messiaen, Empire to Republic, Widor was born to the organ. His<br />
Lyonnaise kinsfolk were organ-builders, he showed early talent for the instrument, and for decades was the embodiment<br />
of its might and splendour across the Gallic domain - his ‘Organ Symphonies’ were genre-defining in their influence.<br />
Joseph Nolan is an internationally renowned organist, acclaimed as ‘brilliant and such an astute musician’ (Gramophone<br />
<strong>UK</strong>). He was appointed to Her Majesty’s Chapels Royal, St James’s Palace in 2004, and has since been invited to<br />
perform and record in some of the world’s premiere venues – including the refurbished Organ of Buckingham Palace<br />
Ballroom (SIGCD114) and the Organ of Saint- Sulpice in Paris (SIGCD167). The Cavaillé-Coll Organ of La Madeleine,<br />
Paris is a similarly renowned instrument, with former chief-organists including Camille Saint-Säens and Gabriel Fauré.<br />
Reviews for the previous discs in this series (Vol.1 - SIGCD<strong>29</strong>2 and Vol. 2 - SIGCD319):<br />
"The recording clarity is remarkable, only final chords revealing that we have been enjoying the fruits of some six<br />
seconds of reverberation. Joseph Nolan … is an utterly persuasive executant at the console. Thoroughly enjoyable."<br />
Organists Review<br />
“Joseph Nolan’s painstaking approach to registration yields a sound which is about as authentic as you could wish. Add<br />
to this his amazingly precise fingerwork, his total mastery of the score and his obvious empathy with this music ... this<br />
has few challengers when it comes to the utter authority of the performances.” Gramophone
Label: Delphian<br />
File Under: Classical/Chamber<br />
music/Contemporary<br />
Catalogue No: DCD34113<br />
Barcode: 801918341137<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: cristal<br />
Robert Irvine [cello]<br />
Erkki Lahesmaa [cello]<br />
Fali Pavri [piano]<br />
William SWEENEY: Tree o’ Licht<br />
The Tree o’ Licht<br />
The Poet Tells of his Fame<br />
[electroacoustic fantasy for cello, pre-recorded samples & live processing]<br />
Sonata for Cello and Piano<br />
Robert Irvine<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Both musically impassioned and socially engaged, William Sweeney’s music is at its most eloquent when voiced by that<br />
most human of instruments, the cello. The player navigates a stormy electronic landscape in the Borges-inspired 'The<br />
Poet Tells of his Fame', while Schumann lies behind the powerfully argued Sonata for Cello and Piano, recipient of a<br />
2011 BASCA British Composer Award.<br />
The Sonata bears a joint dedication to Delphian artist Robert Irvine and to Erkki Lahesmaa - ‘keepers’, as Sweeney calls<br />
them, ‘of the cello’s inner voice’ - and Irvine is joined by his Finnish colleague here in the 2008 duo 'The Tree o’ Licht', in<br />
which Gaelic Psalmody is transmuted into deepest instrumental expressivity.<br />
World premiere recordings made in the presence of the composer
Label: Delphian<br />
File Under: Classical/Instrumental<br />
Catalogue No: DCD34109<br />
Barcode: 801918341090<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: cristal<br />
John Kitchen<br />
[1755 double-manual harpsichord by Luigi Baillon]<br />
Music from the Age of Louis XIV<br />
John Kitchen<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Louis MARCHAND: Suite No.1 in D minor<br />
Louis COUPERIN: Pavane in F sharp minor<br />
Elisabeth JACQUET de la GUERRE: Suite in F major<br />
Jean-Henri d’ANGELBERT: Tombeau de M. De<br />
Jean-Baptiste LULLY transcr. D’Angelbert: Menuets ‘Dans nos bois’ and ‘La Jeune Iris’ (from Trios pour le coucher du<br />
Roi), Les songes d’Atys, Chaconne de Phaeton, Chambonnières agréables<br />
François COUPERIN: Movements from Troisième Ordre in C minor<br />
John Kitchen continues his much-lauded series of recordings from the instruments of the world-famous Roger Mirrey<br />
collection of keyboard instruments. Recorded in St Cecilia's Hall, Scotland's oldest purpose-built concert hall, this<br />
programme is specifically designed to highlight the unique qualities of the 1755 double-manual harpsichord by Luigi<br />
Baillon. Built in Cyteux, Burgundy, it has a very different sound from Parisian instruments of the time; cleaner and<br />
brighter in tone, it is the perfect vehicle for Kitchen's subtly nuanced playing, which brings the sophistication of the period<br />
to new life.<br />
The familiarity born of Kitchen's daily experience with the Edinburgh collections and their setting shines through these<br />
performances.
Label: Stradivarius<br />
File Under: Classical/Secular<br />
Vocal music<br />
Catalogue No: STR33963<br />
Barcode: 8011570339638<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
La Dolce Maniera<br />
Luigi Gaggero [director]<br />
MONTEVERDI: Il Quarto Libro dei Madrigali<br />
La Dolce Maniera<br />
Luigi Gaggero<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
From the introduction by Luigi Gaggero:<br />
“In our interpretation of the Fourth Book, we have considered the poetic text as the guiding element that defines all other<br />
musical parameters: dynamics, rhythm, colors and vocal gestures. Absolute respect of the prosody of these texts (and<br />
not only the search for clear and correct pronunciation, but also the respect of the metric, rhyme and internal assonance)<br />
has led us to look for an ever-changing tonal palette, linked to the emotional movement of the affects, and a variety of<br />
vocal gestures closely related to the meaning of the poems. In particular, taking into account the fact that Monteverdi<br />
wrote 'L’Orfeo', the first true masterpiece in the history of opera, only four years after the publication of the Fourth book,<br />
we felt it was important to seek the harmony of the whole without losing the personality and autonomy of each single<br />
voice within the madrigal: only in this way, we believe, can one underline the genius of Monteverdi, who, with a sensitivity<br />
that has few equals in the history of art, tells us with infinite love about the human soul, and the voices that inhabit it”.
Label: Stradivarius<br />
File Under: Classical/Orchestral<br />
Catalogue No: STR33944<br />
Barcode: 8011570339447<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Insieme Strumentale di Roma<br />
Paolo Perrone [violin]<br />
Giorgio Sasso [violin and conductor]<br />
VIVALDI: Violin Concertos<br />
Insieme Strumentale di Roma<br />
Giorgio Sasso<br />
Concerto in F major RV 287 for violin, strings and continuo<br />
Concerto in C major RV 508 for two violins, strings and continuo<br />
Concerto in G minor RV 517 for two violins, strings and continuo<br />
Concerto in C major RV 113 for strings and continuo<br />
Concerto in G minor RV 321 for violin, strings and continuo<br />
Concerto in D minor RV 240 for violin, strings and continuo<br />
Concerto in D major RV 123 for strings and continuo<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
From the liner notes by Pablo Queipo de Llano:<br />
The seven concertos presented on this CD constitute an anthology of Vivaldi’s repertory for strings in his most preferred<br />
forms: the four-part concerto without a solo instrument, the concerto with one or two solo violins. Although the three types<br />
of the genre were already well known when Vivaldi began to cultivate them in the first decade of the 18th century, the<br />
advent of the Red Priest caused an authentic revolution in the repertory both in Italy and abroad. Apart from the<br />
sensuous musical substance which characterises them, the main formal novelty of Vivaldi’s concertos consists in the<br />
“stellar” arrangement of the solo parts, which in Vivaldi’s works is seen in a hitherto unknown splendour. Vivaldi raises<br />
the soloist to the position of authentic protagonist of the concerto, going beyond the discreet role which the fathers of the<br />
genre - Corelli, Torelli and Albinoni among others – had given them. Although the string concertos without a soloist –<br />
called 'Concerti Ripieni' by Vivaldi – prove to be less spectacular because of the absence of a soloist, the personality of<br />
the Venetian maestro still stands out.
Label: Eloquentia<br />
File Under: Classical/Instrumental<br />
Catalogue No: EL1341<br />
Barcode: 3760107400413<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Luis Beduschi [flute]<br />
Philippe Grisvard [harpsichord]<br />
CORELLI: Sonatas Op.V<br />
Luis Beduschi<br />
Philippe Grisvard<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
It is unlikely that Corelli expected the impact his Opus V would have throughout the 18th century and beyond. Indeed, the<br />
Corellian Solos, as they were called at the time, had been reprinted more than 50 times by the 1800s along with<br />
hundreds of manuscript copies and dozens of arrangements. No other collection of pieces has seen such evidence of free<br />
ornamentation.<br />
Luis Beduschi, the internationally renowned flautist, has chosen ornaments by Corelli, himself, to appropriate these works for<br />
the flute because of their undeniable beauty and coherence as a whole, removing the various unsatisfactory Baroque<br />
transcriptions to develop his own, with the aim of restoring the original line.
Label: NAÏVE<br />
File Under: Classical/Jazz crossover<br />
Catalogue No: V5339<br />
Barcode: 822186053393<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Ensemble Contraste:<br />
Arnaud Thorette [viola]<br />
Johan Farjot [Fender Rhodes piano]<br />
Raphaël Imbert [saxophone]<br />
Karol Beffa [Fender Rhodes piano]<br />
Miroir(s)<br />
Ensemble Contraste<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
“Delicious contrasts occur when classical music and popular music rub elbows” is the motto of Ensemble Contraste, a<br />
French group founded in 2000 by some of the leading classical virtuosi of the new generation. They built their notoriety<br />
by making their own arrangements that have resulted in original programmes that range from classical music to tango,<br />
and from musicals to jazz, to premieres of contemporary works. The Ensemble Contraste has collaborated with artists<br />
from many fields.<br />
'Miroir(s)' is a jazz recording that pays homage to some of the masterpieces of classical music. It gathers a jazz<br />
musician, a composer/improviser, a pianist who writes arrangements and a classical musician tempted by the jazz<br />
demon. Mozart’s 'Lacrimosa' turns Bossa Nova...<br />
Paraphrase gnossienne - Johan Farjot / Erik Satie<br />
Chinatown - Karol Beffa<br />
Lament - Johan Farjot / Henry Purcell<br />
Je t’invoque - Karol Beffa<br />
Stella hymnis - Raphaël Imbert<br />
Ich ruf zu dir, herr Jesu Christ - J. S. Bach<br />
Lacrymosa - Johan Farjot / W. A. Mozart<br />
Cracovia - Johan Farjot<br />
Cathédrales (improvisation) - Karol Beffa<br />
Echoes of gospel (improvisation) - Raphaël Imbert<br />
Amazing Grace (improvisation) - William Walker<br />
Herz und mund und tat und leben - J. S. Bach<br />
Un mot encore - Johan Farjot<br />
Choral - Johan Farjot<br />
En miroir - Karol Beffa
Label: Wergo<br />
File Under: Classical/Contemporary<br />
Catalogue No: WER6859-2<br />
Barcode: 4010228685923<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: cristal<br />
Uri Caine [piano]<br />
Omar Ebrahim [baritone]<br />
ensemble musikFabrik<br />
/André de Ridder [conductor]<br />
Liza LIM: Tongue of the Invisible<br />
a work for improvising pianist, baritone and 16 musicians<br />
text by Jonathan Holmes after poems by Hafiz<br />
Uri Caine<br />
Omar Ebrahim<br />
ensemble musikFabrik<br />
André de Ridder<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
A "story of 'fixed' and 'open' things" unfolds in Liza Lim's work 'Tongue of the Invisible' on this new CD on Wergo's<br />
edition musikFabrik. Of Chinese descent, the Australia-born composer was inspired by the lyric poetry of the Sufi Persian<br />
poet Hafiz.<br />
"An ecstatic vertigo: There still isn't enough Lim on disc for my liking, but this release of the 55-minute song cycle Tongue<br />
of the Invisible will fill the gap for a while...The piece was written for Musikfabrik, and they bring a headily sensual quality<br />
to their playing. The instrumental introduction, a sequence of increasingly elaborate solo curlicues over an increasingly<br />
massive drone, is one of the most absorbing passages I can recall in Lim's output. If you're looking for an introduction to<br />
Lim's music - and if you haven't already had one you should be - then this may be what you need."<br />
The Rambler 20/6/2013
Label: Wergo<br />
File Under: Classical/Contemporary<br />
Catalogue No: WER6783-2<br />
Barcode: 4010228678321<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: cristal<br />
Tomoko Hemmi [piano]<br />
Yukiko Sugawara [piano]<br />
Mark ANDRE: Piano Music<br />
S1 for two piano<br />
Un-fini III for piano<br />
iv 11a for piano<br />
iv 11b for piano<br />
Contrapunctus for piano<br />
iv 1 for piano<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
The piano works of Mark Andre are founded on his intensive examination of the fleeting phenomenon of sound<br />
reverberation and decay: there might be a thick cluster that reverberates on a single string, or a single note that causes<br />
the entire landscape of strings to resonate. An echo that has almost faded away may suddenly rise up from another spot<br />
inside the piano; diffuse clouds of sound change their colours or begin to flutter restlessly.<br />
These combinations and their manipulation in time and space are usually preceded by detailed frequency analyses.<br />
Experimental work together with the performers also plays an essential role in the construction of these unstable<br />
resonating states. While Andre's early piano compositions were generated with the help of algorithms, his later works are<br />
no longer the result of calculations. Instead, he now attempts the opposite: to develop the composition out of the<br />
structure of the sound and the “breath of the material”. Compared to the cool objectivity of the works from the 1990s, the<br />
more recent pieces seem softer and more playful, although they have hardly been conceived less systematically – here,<br />
too, the intrinsic logic and necessity of every transition and development is closely scrutinised.
Label: Stradivarius<br />
File Under: Classical/Contemporary<br />
Catalogue No: STR33952<br />
Barcode: 8011570339522<br />
NORMAL Price<br />
Format: 1 CD<br />
Packaging: cristal<br />
Sylvano Bussotti [harpsichord & piano]<br />
Aldo Orvieto [piano]<br />
Ciro Longobardi [piano]<br />
Giovanni Mancuso [piano]<br />
Debora Petrina [piano]<br />
Carlo Lazari [violin]<br />
Claudio Ambrosini [inside piano]<br />
Alvise Vidolin [live electronics]<br />
BUSSOTTI: Four Pianos<br />
Quattro Pianoforti (2011)<br />
12 Folie d’après François Couperin le Grand (2008)<br />
La vergine ispirata (1982)<br />
PER TRE sul piano from Sette fogli. Una collezione occulta (1959)<br />
Bartók-Busoni, capriccio di 34 mikrokosmos (1995)<br />
Olof Palme (1987)<br />
Le pietre di Venezia from Foglio d’Album (1984) in the version by Claudio Ambrosini, 2012<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
There are not many composers of Sylvano Bussotti’s generation – by generation we mean a poetic more than numerical<br />
fact – for whom the piano has represented the, or an, authentic centre: a specific place for the invention and production of<br />
sounds which radiates towards other ideas, other fields of application.<br />
Despite not being a composer-pianist, or a musician linked to a craft by means of the keyboard, at the end of the 1950s<br />
Bussotti succeeded, like Cage, Boulez and Feldman, in defining authoritatively a contemporary language of the piano<br />
which is at the same time idiomatic, experimental and imbued with history. The presence of the piano in Bussotti’s<br />
extensive catalogue is not only frequent, but also indicative of innovation, of turning points, sometimes even of<br />
‘manifesto’; it is also not only the fruit of composition but also the living presence of the composer as a skilled and<br />
charismatic performer.
Label: NAÏVE<br />
File Under: Classical/Choral<br />
Catalogue No: NC40017<br />
Barcode: 822186400173<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Gemma Bertagnoli [soprano]<br />
Sara Mingardo [contralto]<br />
Concerto Italiano<br />
Rinaldo Alessandrini [conductor]<br />
VIVALDI: Gloria RV589, Dixit Dominus RV594<br />
Gemma Bertagnoli<br />
Sara Mingardo<br />
Concerto Italiano<br />
Rinaldo Alessandrini<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Rinaldo Alessandrini’s rapport with this music borders on the love affair. We have him and his Concerto Italiano to thank<br />
for the triumphant return of these works to the concert platform, radiant and rejuvenated 300 years after they were first<br />
performed: using his expertise in the vocal parts as a guideline for his instrumental direction, the Italian conductor and<br />
harpsichordist, a pioneer in his home country since the 1980s, is an unstinting advocate of legibility, a dynamic of conviction,<br />
and stunning sensuality. Diapason praised:<br />
“A frank, vigorous mixed-voice approach with flawless tempi, making marvellous use of the sumptuous trumpets,<br />
colouring the energetic strings”.
Label: NAÏVE<br />
File Under: Classical/Instrumental<br />
Catalogue No: NC40018<br />
Barcode: 822186400180<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Europa Galante<br />
Fabio Biondi<br />
VIVALDI: The Four Seasons, Violin Concertos RV171, 163<br />
Europa Galante<br />
Fabio Biondi<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
In the 1980s violinist Fabio Biondi emerged as a free-thinking and passionate adventurer, one of the first in Italy to board<br />
the time machine and re-explore this repertoire. To find a modern way of using the expressive instruments of the 18th<br />
century, he had to go back to the drawing board, with his Europa Galante orchestra, founded in 1989.<br />
In 1991, this dazzling interpretation by Europa Galante, the ensemble’s first recording, brought instant recognition,<br />
propelling the ‘Red Priest’ into the modern world. Fabio Biondi’s ensemble – featuring harpsichordist Rinaldo<br />
Alessandrini, another pioneer of the baroque renaissance with his own Concerto Italiano – gives the impression of<br />
overflowing off the concert stage. Vivaldi not only enjoys a second coming, but returns rejuvenated.<br />
Diapason d’or, RTL d’or, 10/10 from Répertoire magazine,<br />
Gramophone Editor’s Choice
Label: NAÏVE<br />
File Under: Classical/Choral<br />
Catalogue No: NC40019<br />
Barcode: 822186400197<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Marie-Nicole Lemieux [contralto]<br />
Philippe Jaroussky [countertenor]<br />
Ensemble Matheus /<br />
Jean-Christophe Spinosi<br />
VIVALDI: Nisi Dominus RV608, Crucifixus RV592,<br />
Stabat Mater RV621<br />
Marie-Nicole Lemieux<br />
Philippe Jaroussky<br />
Ensemble Matheus<br />
Jean-Christophe Spinosi<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
“As a specialist of Vivaldi’s music, Jean-Christophe Spinosi is aware of the permeability of the boundaries between<br />
sacred music and opera…The conductor and his musicians are past masters in spotlighting the key words to which<br />
Vivaldi brings his special colours and underlining the oppositions that the composer deployed so liberally”, reported Le<br />
Monde de la musique.<br />
This intense life that is so deeply engraved in the Nisi Dominus and the Stabat Mater, felt and revived for our modern era<br />
by the Matheus Ensemble and their conductor, nourishes the generous voices of Marie-Nicole Lemieux and Philippe Jaroussky:<br />
the former “expresses with rare nobility the pain of the woman who suffers and the compassion of the woman who recounts”,<br />
the latter, the “voice of the soul”.<br />
Since their 2003 revival of Vivaldi’s 'Orlando furioso', Marie-Nicole Lemieux, Philippe Jaroussky and Jean-Christophe<br />
Spinosi have been united in a beautiful and enduring win-win love affair with and around music. While they may pair off<br />
with Rossini or Handel, they come together again as a threesome for Vivaldi. [!] Recorded in 2007.
Label: NAÏVE<br />
File Under: Classical/Secular<br />
Vocal music<br />
Catalogue No: NC40020<br />
Barcode: 822186400203<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Montserrat Figueras [soprano]<br />
La Capella Reial de Catalunya<br />
Jordi Savall [conductor]<br />
El Cant de la Sibil-la<br />
Montserrat Figueras<br />
La Capella Reial de Catalunya<br />
Jordi Savall<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
The soprano Montserrat Figueras discovered the Songs of the Sibyl one Christmas, while still a teenager, at a Midnight<br />
Mass in Palma de Mallorca. She was fascinated, experiencing “the privilege of touching something essential”. With her<br />
husband, the Catalan conductor and viol player Jordi Savall, an indefatigable archaeologist of early music<br />
for 40 years now, she revived the generous timbres of the Songs of the Sibyl, explored at that time by no other singer.<br />
The result is a unique heritage, a testimony to an immense and enduring culture whose influence spread throughout the<br />
Mediterranean basin. This programme, recorded in 1988 a year after the foundation of their ensemble La Capella Reial<br />
de Catalunya, presents three Songs of the Sibyl: the understated and profound Latin version (10th – 11th century), the<br />
Provençal (13th century) with oud, influenced by the art of the troubadours, and the Catalan, a close cousin of the<br />
medieval Mystery plays. The gathering of these songs has unearthed an unparalleled repertoire eminently worthy of<br />
reassessment and resurrection.
Label: NAÏVE<br />
File Under: Classical/Instrumental<br />
Catalogue No: NC40021<br />
Barcode: 822186400210<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Anne Gastinel [cello]<br />
Claire Désert [piano]<br />
SCHUBERT: Sonate Arpeggione D821<br />
Sonatina D.384, Lieder transcriptions: Ständchen, An die Musik, die Forelle<br />
Anne Gastinel<br />
Claire Désert<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
In 2005 Anne Gastinel and Claire Désert recorded this Schubert programme and were rewarded with a RTL d’or and a<br />
Gramophone Editor’s Choice.<br />
The magic of this iconoclastic programme (Anne Gastinel transcribed the lieder herself) lies in assimilation rather than<br />
imitation. The cello absorbs sonata, sonatina and lieder as though they had all been written for it: in fact it is the cello that<br />
has saved the sonata for posterity now that the arpeggione is long forgotten.<br />
Since winning the Rostropovich Competition in 1990, Anne Gastinel, has had scant regard for her “classical” image.<br />
Through her close rapport with pianist Claire Désert she has recreated a repertory of songs by a composer that she<br />
loves, without the absence of words taking anything away from the capacity to move. “Delicate, fine, natural. Never<br />
overstated, never the slightest trace of sentimentality, yet constantly singing, [this performance] is, warm and noble”,<br />
wrote Le Nouvel Observateur.
Label: NAÏVE<br />
File Under: Classical/Chamber<br />
music<br />
Catalogue No: NC40022<br />
Barcode: 822186400227<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Arditti Quartet<br />
SCHOENBERG: Verklärte Nacht Op. 4<br />
Arditti Quartet<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
The Arditti String Quartet recorded Schoenberg’s Transfigured Night in 1993; theirs has, to this day, remained the<br />
reference version.<br />
For 40 years, their unswerving faith in 19th and 20th century music and their intelligent choices of championed<br />
repertories have nourished their work as begetters, missionaries and major players in musical creativity. Their strong identity,<br />
stamped on the quartet by founder Irvine Arditti, “a prophet among musicians”, in the words of Harrison Birtwistle, and the last<br />
remaining member of the original 1974 lineup, stems from the Second Viennese School. Their immense discography has<br />
developed with a specific quality of string sound and a transparent technique capable of making the most demanding pages of<br />
chamber music accessible to a broad audience.
Label: NAÏVE<br />
File Under: Classical/Chamber<br />
music<br />
Catalogue No: NC40023<br />
Barcode: 822186400234<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Quatuor Mosaïques<br />
Wolfgang Meyer [clarinet]<br />
Patrick Cohen [hammerflugel]<br />
MOZART: Clarinet Quintet K581, Kegelstatt Trio K498<br />
Quatuor Mosaïques<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
The Mosaïques Quartet trained with Nikolaus Harnoncourt and his Concentus Musicus, cultivating a taste for<br />
authenticity, the path they subsequently trod, starting in Vienna in 1987 and illuminated by Haydn and Mozart, led them<br />
to develop a collective colour. Here, their mosaic stretches to the mellowness of the fortepiano and the basset<br />
clarinet, an instrument partly invented by Stadler and suggested by the wide tessitura of the Quintet, which is what<br />
makes this version so special.<br />
Wolfgang Meyer expresses the light and dark facets of Mozart’s close friend, both soloist and trusted ear, eschewing<br />
emphasis and torment, constantly radiant and bonded to the ensemble.
Label: NAÏVE<br />
File Under: Classical/Choral<br />
Catalogue No: NC40024<br />
Barcode: 822186400241<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Gemma Bertagnolli [soprano]<br />
Sara Mingardo [contralto]<br />
Concerto Italiano<br />
Rinaldo Alessandrini<br />
PERGOLESI, SCARLATTI: Stabat Mater<br />
Gemma Bertagnolli<br />
Sara Mingardo<br />
Concerto Italiano<br />
Rinaldo Alessandrini<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
timeline: 1708-1717 Scarlatti writes his 'Stabat Mater', commissioned by the Neapolitan brotherhood of the Cavalieri della<br />
Vergine dei Dolor for the Lent services in the church of San Luigi di Palazzo.<br />
1734-1736 Pergolesi’s 'Stabat Mater', commissioned by the same brotherhood to supersede the Scarlatti version.<br />
1980 Pioneered in northern Europe, the Baroque revival continues in Italy, spearheaded by Rinaldo Alessandrini.<br />
1998 Rinaldo Alessandrini and his newly founded Concerto Italiano record the two Stabat Maters.<br />
The recording becomes a reference: ƒƒƒƒ Télérama, Timbre de platine Opéra international, Gramophone Editor’s<br />
Choice, 10 de Répertoire, Recommended by Classica.
Label: NAÏVE<br />
File Under: Classical/Orchestral<br />
Catalogue No: NC40025<br />
Barcode: 822186400258<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Les Musiciens du Louvre Grenoble<br />
Marc Minkowski<br />
HAYDN: London Symphonies<br />
No. 102, No. 103 Drumroll, No. 104 London<br />
Les Musiciens du Louvre Grenoble<br />
Marc Minkowski<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Les Musiciens du Louvre Grenoble have been working now for over 30 years on the vocal and symphonic repertories,<br />
expanding from the initial baroque repertory to span the centuries, taking in Mozart, Schubert, Berlioz and Wagner, without<br />
losing any vigour.<br />
Far from a solemn commemoration, Minkowski celebrates Haydn in a free, inventive spirit, refreshes the tempi, restores<br />
the original line-up of 60 musicians, and breathes vivacity to reveal “Haydn’s Dionysian side and also his inner garden”.<br />
Julian Sykes concludes: “The theatrical momentum produced by these interpretations […] is reminiscent of the sweeping<br />
energy of Leonard Bernstein. Minkowski does not stylise; he looks for the big picture, moves forward without the little<br />
mannerisms of the baroque...but without sacrificing detail” (Le Temps, October 2010).<br />
This 2009 Live recording in the Vienna Konzerthaus of the twelve “London” Symphonies, rewarded by a Diapason d’or, a<br />
Diapason d’or for 2010 and the German Record Critics’ award and is ranked in the Top 10 for 2010 by Belgium’s Le Soir.
Label: NAÏVE<br />
File Under: Classical/Opera &<br />
Vocal<br />
Catalogue No: NC40026<br />
Barcode: 822186400265<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Sandrine Piau [soprano]<br />
LeS Talens Lyriques<br />
Christophe Rousset<br />
HANDEL: Opera Seria<br />
arias for soprano from Scipione, Orlando, Giulio Cesare, Partenope, Amadigi<br />
Alesssandro, Rodelinda, Faramondo, Tamerlano, Deidamia, Arianna in Creta<br />
Sandrine Piau<br />
Les Talens Lyriques<br />
Christophe Rousset<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
This 2004 recording is far more than just a recital by a prima donna: it is a perfectly balanced dialogue between Piau and<br />
Rousset, both indelibly marked by their work with William Christie, the former from her discovery of early vocal music, the<br />
latter from his time as assistant leader of Les Arts Florissants before forming his own ensemble in 1991. The rapport<br />
between soprano and conductor has blossomed over time, notably through their collaboration, since 1994, on the<br />
operatic works of Handel. Their complicity reveals the deep humanity of Handel’s heroines behind the masks.<br />
Recorded in 2004 & awarded Gramophone Editor’s Choice in the <strong>UK</strong>.
Label: NAÏVE<br />
File Under: Classical/Instrumental<br />
Catalogue No: NC40027<br />
Barcode: 822186400272<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Grigory Sokolov [piano]<br />
CHOPIN: 24 Preludes Op. 28<br />
Grigory Sokolov<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Grigory Sokolov: a living legend of the piano whose public performances and recordings are as rare as the man is<br />
secretive. He stepped away from the limelight years ago, refusing to be idolised by a society avid for imagery. Under the<br />
winged fingers of the giant you hear the vibrancy of an inner song, wordless but not illegible.<br />
June 7 1990: concert and recording of Chopin’s Preludes by Grigory Sokolov, still relatively unknown in France.<br />
The record receives high praise from the critics.
Label: NAÏVE<br />
File Under: Classical/Choral<br />
Catalogue No: NC40028<br />
Barcode: 822186400289<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Sandrine Piau [soprano]<br />
Stéphane Degout [baritone]<br />
Brigitte Engerer [piano]<br />
Boris Berezovsky [piano]<br />
Accentus / Laurence Equilbey [conductor]<br />
BRAHMS: Ein Deutsches Requiem [London version]<br />
Sandrine Piau<br />
Stéphane Degout<br />
Brigitte Engerer<br />
Boris Berezovsky<br />
Accentus<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
This two-piano version of Brahms' 'Requiem' was put to the test in 1871, in London, after the original version had been<br />
subjected to a flawed and chaotic premiere. In 2003, Laurence Equilbey's Accentus choir were joined by two legends of<br />
the keyboard, the late Brigitte Engerer and Boris Berezovsky, soprano Sandrine Piau and baritone Stéphane Degout.<br />
Dispensing with flowers and wreaths they transform affliction into comfort, the forsaking of life into celestial attraction,<br />
testifying above all else to the superiority of Brahms’ art.
Label: NAÏVE<br />
File Under: Classical/Instrumental<br />
Catalogue No: NC400<strong>29</strong><br />
Barcode: 822186400<strong>29</strong>6<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Pierre Hantaï [harpsichord]<br />
J.S. BACH: Goldberg Variations BWV988<br />
Pierre Hantaï<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Pierre Hantaï’s incisive, ornate playing delights in the intellectual virtuosity and harpsichord pyrotechnics, feeds on the<br />
complexity of the counterpoint, finding freedom in the rigorously thought-out scoring. Ultimately, this is a perfectly<br />
structured book of metamorphoses, closing with the initial Aria, like an invitation to return to the starting point and travel<br />
again. An “art of the variation” just as there is an Art of Fugue.<br />
Pierre Hantaï, born in 1964, is one of the most inquisitive, determined and innovative of that generation. At the age of 19,<br />
he distinguished himself at the Musica Antiqua Bruges competition in Belgium and had scarcely turned 30 when he<br />
recorded his masterful 'Goldberg Variations'. While his meeting with Gustav Leonhardt sharpened his appetite for<br />
research and his quest for perfection, stimulating his instinct and development, his main inspiration remains Bach.<br />
His first love endures. Today Pierre Hantaï is still drawn back relentlessly to Bach’s work, either on the harpsichord or<br />
with his orchestra Le Concert Français
Label: NAÏVE<br />
File Under: Classical/Chamber<br />
music<br />
Catalogue No: NC40030<br />
Barcode: 822186400302<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Concerto Italiano / Rinado Alessandrini<br />
BACH: Brandenburg Concertos 1,3,4 & 5<br />
Concerto Italiano<br />
Rinaldo Alessandrini<br />
BBC Building a Library / Music Magazine ‘Best recording of the work’<br />
Gramophone Editor’s Choice<br />
Classicstoday 10/10<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
In 2005, when Rinaldo Alessandrini decided to focus his recording work on Bach, he set out to explore the influence of<br />
the Italian concerto and repertory, so dear to him, on the German master. Preferring the light touch of an ensemble of soloists,<br />
he chose to reveal each timbre and clarify the musical arguments, underlining the interaction and differences.<br />
This innovative vision, honed since the 1980s by Concerto Italiano on instruments of the period, focuses not on effects but on<br />
articulations, suppleness, dynamics and respiration.<br />
Never has an old language been made so vibrant. “Bach’s music has it all”, concludes Rinaldo Alessandrini. “Our job is<br />
simply to bring elegance and a beautiful tone.”
Label: NAÏVE<br />
File Under: Classical/Choral<br />
Catalogue No: NC40031<br />
Barcode: 822186400319<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
Andreas Scholl [countertenor]<br />
Barbara Schlick [soprano]<br />
Christoph Prégardien [tenor]<br />
Gotthold Schwarz [bass]<br />
Ensemble Baroque de Limoges /<br />
Christophe Coin<br />
J.S.BACH: Cantatas BWV49, 115, 180<br />
Andreas Scholl<br />
Barbara Schlick<br />
Christoph Prégardien<br />
Ensemble Baroque de Limoges<br />
Christophe Coin<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Unusually these three church cantatas are accompanied by a cello, which was uncommon, especially in church: in this case<br />
the five-string piccolo, fashionable at the start of the 18th century. The key to the originality and coherence of this recording<br />
by the Ensemble Baroque de Limoges, with Concerto Vocale Leipzig, is to have approached these works from the<br />
instrumental angle.<br />
Conductor Christophe Coin, who studied with Jordi Savall and Nikolaus Harnoncourt, has, for the last 30 years, been<br />
France’s most fervent apostle of the music of the 17th and 18th centuries. It all came together in 1993: his first love of<br />
baroque music, his quest for authenticity in the interpretation of known and lesser known repertories, his approach to<br />
voices and period instruments, his work as a cellist himself, never sacrificed to a career as conductor…<br />
The record won a Diapason d’or, ƒƒƒƒ from Télérama and a Timbre de platine from Opéra International.
Label: NAÏVE<br />
File Under: Classical/Choral<br />
Catalogue No: NC40032<br />
Barcode: 822186400326<br />
MID Price<br />
Format: 1 CD<br />
Packaging: digipack<br />
A Sei Voci<br />
Dominique Ferran [organ]<br />
Bernard Fabre-Garrus [conductor]<br />
ALLEGRI: Miserere<br />
Messe Vidi Turbam Magnam<br />
Motets: De Ore Prudentis, Depleti sunt omnes, Cantate Domino<br />
A Sei Voci<br />
RELEASE DATE<br />
<strong>29</strong>TH <strong>JULY</strong> 2013<br />
Bernard Fabre-Garrus, his A Sei Voci ensemble and the musicologist Jean Lionnet, with their characteristic fervour and<br />
concern for authenticity, pored over the writings of Allegri’s contemporaries and rediscovered the lost paradise of the<br />
original sources. In 1993, they restored the original intent of the piece in this unique interpretation, true to the tradition of<br />
improvised ornamentation, with its inventive, blossoming lines.<br />
The surprises do not stop there, because, A Sei Voci inserts between this 'authentic' version and the traditional, familiar<br />
version conveyed over the centuries and other forgotten works by Allegri, composed for liturgical services in the Pontifical<br />
Chapel in Rome. With its expressive sobriety, supported by the understated playing of organist Dominique Ferran and perfectly<br />
balanced voices that alternately come to the fore from within the counterpoint, A Sei Voci invites you on to the stairway to<br />
paradise...Bernard Fabre-Garrus died in 2006 and A Sei Voce disbanded some five years later.