Searching results of "Classic"Totally 26 article(s) found in : Classic (16) | Jazz (3) | Pop (3) | World (4)
| Searching results of "Classic" |
L’ensemble vocal Les Voix Baroques et l’orchestre Arion ont uni leurs forces pour ce nouvel enregistrement de la Passion selon saint Jean de Bach, sous la direction du chef et organiste Alexander Weimann. L’enregistrement a été réalisé à la chapelle du Grand Séminaire de Montréal, à la suite des prestations qui ont eu lieu au Festival Bach 2010 à Montréal. • Cette Passion obéit au genre de l’oratorio, en se présentant essentiellement comme un récit commenté, avec personnification des protagonistes dont la trame fait référence aux chapitres XVIII et XIX de l’évangile de l’apôtre Jean. • Comme le veut la tradition, l’Évangéliste est incarné par une voix de ténor (Jan Kobow), tandis que d’autres voix font parler les divers personnages et que le choeur représente la foule ainsi que les groupes de soldats et de prêtres. Le rôle du Christ (Stephan MacLeod), est dévolu à une voix de basse, comme c’était l’usage à l’époque. • Sous la direction artistique de Matthew White, Les Voix Baroques est un ensemble de musique de chambre professionnel qui se consacre à l’interprétation historiquement documentée de répertoires pour voix et instruments des époques Baroque et de la Renaissance, et ce, tant en concert que dans des réalisations scéniques spéciales. • Fondé en 1981, Arion orchestre baroque est l’unique orchestre de musique ancienne sur instruments d’époque au Québec. Le groupe propose une prestigieuse série de concerts montréalaise, avec le concours de plus d’une vingtaine de musiciens et la participation de chefs invités de renommée internationale. Les Voix Baroques and Arion Baroque Orchestra combine their outstanding talents for this new ATMA recording of the St. John Passion by Bach, under the direction of organist and conductor Alexander Weimann. This recording was produced at the Chapel of the Grand Séminaire in Montreal, following performances during the 2010 Bach Festival in Montreal. • The St. John Passion follows the rules of an oratorio: The story, – essentially the last days of Christ’s life – is drawn from the Gospel according to John, and features commentary throughout in the form of choruses sung by the choir. Following tradition, the role of narrator is assigned to a tenor voice (Jan Kobow). Other voices personify various key characters, while the choir sings the parts of the crowds, groups of soldiers, and priests. The role of Christ is sung, as usual, by a bass (Stephan MacLeod). • Under the artistic direction of Matthew White, Les Voix Baroques is an ensemble of vocal soloists who collaborate with prominent instrumentalists, ensembles and music directors to present vocal works or relating to from the Renaissance and Baroque periods. Formats range from traditional concerts to fully staged operatic events. • Arion Baroque Orchestra, founded in 1981, is the only early music orchestra performing on period instruments in Quebec and is one of the most renowned early music ensembles in North America. Led by flutist Claire Guimond, the 20-member orchestra offers a prestigious concert series in Montreal with the participation of internationally known guest conductors. • Currently artistic director of the Pacific Baroque Orchestra in Victoria, Alexander Weimann has traveled the world as member of Tragicomedia, as guest of Freiburger Barockorchester, Tafelmusik, and as music director of Les Voix Baroques. As guest conductor, he lately has performed with the Portland Baroque Orchestra, with Les Violons du Roy and with the symphony orchestras in Halifax and Victoria.
Copyright 03.02.2012 18:02:00 Author unknown
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The recording which we would like to present you with is of particular significance for several reasons – realised shortly before the pianist’s death – one could say it comprises the credo of her performance art and artistic testament. It is also a moving testimonial to the dignity with which she committed herself musically to the realisation of the project, despite her long battle with illness. It shows moreover, Tatiana Shebanova’s exceptional relationship with the historic Erard piano which she fell in love with ‘on first contact’ and which returned the compliment with all the tone colours of its sound. (…) Preludes, Op. 28 and Sonata B flat minor, Op. 35 is a successive recording in the series The Real Chopin for which since 2007, Tatiana Shebanova has recorded her performances of the composers works on a period instrument. The pianist’s recording on an Erard piano is the first project of its type in the history of phonography. This unique publication of the National Fryderyk Chopin Institute allows us to trace the evolution of Chopin’s style and expand our experiences of his works through a new sound quality in keeping with the aura of the times within which he composed. This exceptional issue also reassesses Tatiana Shebanova’s interpretations of Chopin and her personal contribution to the composer’s anniversary year whose music she regarded as a constant source of inspiration.
Copyright 03.02.2012 18:02:00 Author unknown
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These two works by François Couperin are not twins: each of them has its own style, one Italian, the other french. They relate, in music, the dispute between two styles, two manners, withthe humour and sensibility of a composer who likes both, and wanted to combine them in what be called "Les goûts réunis".
Copyright 03.02.2012 18:02:00 Author unknown
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Cantates pour basse en première mondiale avec Hugo Oliveira. Durant la première moitié du XVIIIème siècle, de nombreux compositeurs français s’essayèrent à la composition de cantates, créant ainsi un vaste répertoire d’environ 800 oeuvres de ce genre particulier. Malheureusement, malgré que cet extraordinaire ensemble d’oeuvres contienne de nombreuses pièces de grande qualité et même quelques chefsd’oeuvre, il ne rencontre pas encore suffisamment l’intérêt des musicologues et des musiciens. Les éditions modernes et les enregistrements complets sont rares, ce qui a pour résultat que la plus grande partie de ce répertoire est encore totalement inconnue du public aujourd’hui. Si Nicolas Bernier fut le plus prolifique, avec ses quarante cantates publiées, et Jean- Philippe Rameau le plus célèbre – du moins de nos jours –, les meilleurs compositeurs sont sans aucun doute ceux qui sont représentés dans cet enregistrement. Throughout the first half of the 18th century many French composers ventured into the composition of Cantatas, creating a vast repertoire of approximately eight hundred works in this particular genre. Unfortunately, even though this extraordinary group of compositions includes many excellent pieces, and even some masterpieces, it hasn’t as yet attracted enough attention from either musicologists or performers. Modern performance editions and representative recordings are rare, and the majority of the repertoire remains totally unknown to the public nowadays. If Nicolas Bernier was the most prolific, having forty cantatas published, and Jean-Philippe Rameau the most famous – at least nowadays – the best composers of French Cantatas are without any doubt the ones represented on this recording.
Copyright 03.02.2012 18:02:00 Author unknown
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Une visite musicale à Potsdam On fête en 2012 le tricentenaire de la naissance de Frédéric le Grand, dont la gloire politique et militaire a souvent relégué le talent musical au rang de simple hobby… Or non seulement Frédéric II constitue la personnalité déterminante de la vie musicale berlinoise de tout leXVIIIé siècle – en témoignent les oeuvres des compositeurs présentés sur ce disque, qui ont tous travaillé à sa cour à un moment de leur carrière –, mais il était aussi un excellent flûtiste et a lui-même laissé à la postérité des sonates pour flûte de grande qualité. A musical visit to Potsdam. The year 2012 marks the tercentenary of the birth of Frederick the Great, whose political and military glory has often relegated his musical talent to the status of a mere hobby. But Frederick II was not only the key personality of Berlin musical life for the whole 18th century – as is shown by the works of the composers presented on this CD, all of whom worked at his court at some point in their careers – but also an excellent flautist who left posterity a number of fine flute sonatas from his own pen.
Copyright 03.02.2012 18:02:00 Author unknown
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After the fine recording made by Lingua Franca Ensemble of German music for oboe ensemble (RIC 304 : Lustige Feldmusik), Benoît Laurent now presents a fascinating survey of the baroque oboe repertoire. The French oboe enjoyed considerable success in church music, opera and chamber music from the moment of its arrival in Germany, for the instrument’s charms seduced every composer of the period. This recording presents works by composers from Telemann to Bach; it demonstrates the development of musical style throughout the baroque era and ends with the first intimations of the pre-classical style.
Copyright 03.02.2012 18:02:00 Author unknown
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Airs et danses écossais au XVIIIème siècle. Le répertoire vocal et instrumental écossais du XVIIIe siècle fut le témoin de riches échanges entre les répertoires savants et populaires, qui inondèrent l’Europe et les Amériques jusqu’au XIXe siècle (Haydn et Beethoven utilisèrent ce matériau sonore). Par ce métissage, le programme de ce disque reflète le désir (voire même un début d’accomplissement) de mixité sociale et de construction européenne. Alpha inscrit ce nouveau disque de la collection Chants de la Terre dans la tradition des grands succès du Poème Harmonique et des Witches, afin de revaloriser un répertoire issu de transmission orale, mais dont l’impact sur le répertoire écrit fut considérable et continue encore de bercer nos oreilles. L’énergie des Musiciens de Saint-Julien, sous l’impulsion de François Lazarevitch, nous transporte par l’énergie de danses endiablées, que viennent ponctuer des airs chantés par le ténor Robert Getchell. La prononciation gaélique restituée et la douceur de timbre de sa voix confèrent au disque une beauté, une pertinence inédites. One of the most fascinating aspects of Scottish music in the eighteenth century is the extent to which traditional and classical music interacted. And by the early nineteenth century, Scottish songs had become popular in Europe too, and were being arranged by composers such as Haydn and Beethoven. The performances on this CD honour that lively and sensitive interaction which, perhaps uniquely, gives expression to an ideal of social and artistic cohesion. This new recording is a fine addition to Alpha's Chants de la Terre series, devoted to pieces stemming from oral tradition that have had a considerable impact on the written repertoire and continue to enchant the ear. Lively dances, played with joyful energy, exquisite Scottish airs, beautifully sung by the tenor Robert Getchell... Les Musiciens de Saint-Julien, led by Français Lazarevitch, take us once again into fascinating regions inhabited by grace and pure delight.
Copyright 03.02.2012 18:02:00 Author unknown
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Between September 1949 (Tchaikovsky's Fifth) and November 1961 (Hary Janos), Deutsche Grammophon made 180 recordings with Fricsay conducting the Berlin Philharmonic, the RIAS orchestra, and that of the Bavarian Radio. We must add to this list a great number of public and other recordings, made by RIAS Berlin (today DeutschlandRadio). After Fricsay's premature death in 1963, DGG released three important editions: a) in 1977 appeared a big LP collection with silver jackets, including several first-time issues; b) in 1994 a first 10-CD set was released called "Fricsay: A Portrait"; c) and in 2003, a second 9-CD set appeared called "A Life in Music." Finally, a few years ago, the German label Audite released an important Fricsay edition. At the same time, several labels like Walhall or Relief issued more or less legally a certain number of sound archives, mainly operas. In Fricsay's discography, Mozart and Bartok are the two most recorded composers; whereas, regrettably, there exist no recordings of any Mahler and/or Bruckner symphony (these were composers he conducted rarely if at all). Likewise, we have no violin concerto by Beethoven; and no piano concerto by Beethoven (except for his Third Concerto with Annie Fischer in Munich, in December 1957); no Mendelssohn symphony… The present set includes two interesting documents: an autobiographical text in which Fricsay recounts his youth and his beginnings as a conductor, and an interview made in Paris in 1958.
Copyright 03.02.2012 18:02:00 Author unknown
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Pour ses débuts avec harmonia mundi, l'ensemble La Nuova Musica, placé sous la direction de David Bates, propose une véritable rareté : le premier enregistrement de la version originale — datée de 1712 — de l'opéra de Haendel Il pastor fido (Le berger fidèle), avec Lucy Crowe, Anna Dennis, Katherine Manley, Madeleine Shaw et Clint van der Linde. For its harmonia mundi début, the London-based La Nuova Musica, led by David Bates, presents a true rarity: the original 1712 version of Handel's opera "Il pastor fido" (‘The Faithful Shepherd') in its world première recording, featuring Lucy Crowe, Anna Dennis, Katherine Manley, Madeleine Shaw, and Clint van der Linde.
Copyright 03.02.2012 18:02:00 Author unknown
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Gunar Letzbor and his ensemble Ars Antiqua Austria have rediscovered the composer Joseph Balthasar Hochreither (1669-1731). This is Letzbor’s second CD which is devoted to this composer and this focus is well justified: this recording with the St. Florian Boys’ Choir includes Hochreither’s curious Requiem and his celebrated “masterpiece” the festival mass “Jubilus Sacer”. Hochreither was born in Salzburg, was probably taught by Heinrich Ignaz Franz von Biber and also displays influences of Georg Muffat. His chief employment was at the Benedictine monastery in Lambach in Upper Austria. Hochreither’s Requiem is not a through-composed work, but has survived as a compilation of three sections originating from different compositional phases. The key of F minor is reminiscent of Biber’s Requiem and also the use of muted trumpets and muffled timpani which lend the work its own individual and idiosyncratic timbre. Even more extraordinary are the instructions to the bass soloist to sing the Tuba mirum and the Lacrimosa “through a Rödtrohr”: it appears that the soloist was to be placed in an adjoining room and sing through a pipe connected to the church which must have created an unbelievably eerie and chilling effect. The mass “Jubilus sacer” composed in the final year of Hochreither’s life can be considered as his masterpiece: the epitome of a magnificent festival mass celebrating the Baroque joie de vivre. Every detail of the mass text is transposed into a powerful, highly varied and tonally sensual musical imagery – a truly worthwhile rediscovery which is further ennobled by the St. Florian Boys’ Choir on top form and their excellent treble soloist Alois Mühlbacher.
Copyright 03.02.2012 18:02:00 Author unknown
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Ce disque est né d’une rencontre d’un jour de février 2011 avec le fameux clavecin que Donzelague a réalisé à Lyon en 1716 et qui y est toujours conservé au Musée des arts décoratifs. Cinq octaves d’une sonorité transparente et puissante conservées à l’authentique au-delà des passages du temps… Très inspiré, Christophe Rousset s’est tourné vers deux compositeurs qui ont connu et aimé Lyon, deux virtuoses des couleurs, le lyonnais Louis Marchand et le dijonnais Jean-Philippe Rameau. Deux de ses compositeurs fétiches qu’il interprète avec finesse, déployant les tourments et joie de la passion humaine, la force et l’élégance françaises, les chatoiements de sonorités tantôt sensuelles tantôt lumineuses.
Copyright 03.02.2012 18:02:00 Author unknown
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À la tête des musiciens du Freiburger Barockorchester, René Jacobs vous propose de redécouvrir deux symphonies majeures de Mozart. Basée sur le principe de la ligne claire, cette lecture s'appuie avant tout sur ce que cette musique a de plus puissant en elle : le sens du drame. En s'éloignant de la tradition symphonique héritée du XIXe siècle, on se replonge dans une tout autre rhétorique. Conducting the musicians of the Freiburger Barockorchester, René Jacobs offers us a chance to rediscover two symphonies whose ‘classic’ status is such that we thought we knew everything there was to know about them! The guiding principle of this interpretation is clarity of texture, with the aim of bringing out the most powerful element in this music: its sense of drama. It forsakes the 19th-century symphonic tradition for a quite different style of rhetoric.
Copyright 03.02.2012 18:02:00 Author unknown
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Ce disque est né d’une rencontre d’un jour de février 2011 avec le fameux clavecin que Donzelague a réalisé à Lyon en 1716 et qui y est toujours conservé au Musée des arts décoratifs. Cinq octaves d’une sonorité transparente et puissante conservées à l’authentique au-delà des passages du temps… Très inspiré, Christophe Rousset s’est tourné vers deux compositeurs qui ont connu et aimé Lyon, deux virtuoses des couleurs, le lyonnais Louis Marchand et le dijonnais Jean-Philippe Rameau. Deux de ses compositeurs fétiches qu’il interprète avec finesse, déployant les tourments et joie de la passion humaine, la force et l’élégance françaises, les chatoiements de sonorités tantôt sensuelles tantôt lumineuses.
Copyright 03.02.2012 18:02:00 Author unknown
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These two works by François Couperin are not twins: each of them has its own style, one Italian, the other french. They relate, in music, the dispute between two styles, two manners, withthe humour and sensibility of a composer who likes both, and wanted to combine them in what be called "Les goûts réunis".
Copyright 03.02.2012 18:02:00 Author unknown
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