Vous est-il déjà arrivé de voir quelque chose qui n'était pas vraiment là ? De vous entendre appelé par votre nom dans une maison vide ? D'avoir l'impression que quelqu'un vous suivait puis de vous retourner sans rien découvrir ? …
“This disc represents a major expansion in repertoire … excellently played and recorded“ (Fanfare)
This reissue box collects the entire cycle of Mozart keyboard sonatas, plus single-movement works, recorded by Austrian pianist Paul Badura-Skoda on a 1790 Schantz fortepiano that he himself owns. The six CDs included were originally recorded between 1978 and 1990 for a group of related French labels; the budget-price reissue on Naïve is a bit atypical for that label, which has specialized in innovative and lavishly designed full-priced releases. Online retail presentations may not make clear that they are fortepiano recordings, recordings made on a keyboard instrument probably very much like one Mozart would have played himself.
For 30 years Michel Plasson has recorded French music exclusively for EMI Classics. This exclusive box is truly unique as it covers all the masterpieces of French repertoire: concertos by Ravel, Fauré's Requiem, Berlioz's Symphonie Fantastique, Bizet's only symphony, L'Arlesienne; Lalo's Symphony; etc . . .
Montreal mother and daughter, who have always shared a passion for music, take their partnership to the next level with a new album. Dreamers is a delight. The globe-trotting, stylistically voracious collection of duets is a tribute to the pair’s varied influences, from the breezy Quantas Voltas Dá Meu Mundo, by Brazil’s Djavan; to the mischievously twisted Somebody, by late American jazz saxophonist Steve Lacy; Valser en mi Bémol, by Quebec’s Catherine Major; classical great Benjamin Britten’s Corpus Christi; and Turkish treat Ben Seni Sevdugumi, by the late Kazim Koyuncu.
An extraordinary enterprise … As an experience of the sounds and styles of French organ culture this boxed set, it seems to me, is indispensable … the body of music is mostly, here, not created but simply made alive by the apt choice of instruments … it is a resource to which to return with delight.
Hermann Baumann is easily one of the finest horn players of the second half of the 20th century. He came to prominence as a soloist in the 1960s and in 1964 won the prestigious ARD International Music Competition in Munich, beating out Jessye Norman for first place
At the end of the Thirty Years War, the support of the Viennese Imperial Court allowed the emergence of an extraordinarily talented generation of musicians speaking with virtuosity, humour and depth. Schmelzer, Biber and Kerll were at the forefront. For Carnival festivities where music has pride of place they regale us with earthy works that mimic the sounds of nature and everyday life. They also had to meet the taste of Emperor Leopold I, who particularly appreciated imitative counterpoint, and for whom they composed these sonatas which have the power to elevate the soul and spirit.