The selections on this album of music by Estonian "holy minimalist" Arvo Pärt come from different phases of his career. One, the Solfeggio, dates from 1963, before Pärt abandoned serialism for his minimalist experiments; it was revised and simplified a good deal in 2008, however. The centerpiece (and finale), the Stabat Mater, was composed in 1985, and several of the shorter pieces date from the 2000s. The repertoire is divided between sacred choral pieces and short secular pieces of various kinds, all culminating in the giant, hypnotic, and virtually symmetrical Stabat Mater.
"These performances are notable for the blending of piano and strings into impeccably balanced textures. It’s an approach that’s better suited to the subtle Piano Quartet, a masterwork that owes much to classical models, than to the Piano Quintet. (…) These highly recommendable performances (…) join many other polished, modern accounts such as Takács/Hamelin and Mandelring/Le Guay that have been praised in these pages…" ~Fanfare
Pour ce 9ème album, le saxophoniste français Sylvain Beuf réunit autour de onze nouveaux titres originaux, et pour la première fois dans une formation «électrique» : le guitariste Manu Codjia, le bassiste Philippe Bussonnet et le batteur Julien Charlet. Un quartet de choc auquel se sont adjoints pour l'occasion les trompettistes Nicolas Folmer et Alex Tassel ainsi que le percussionniste ivoirien Thomas Guei.
A judicious coupling of Shostakovich recordings by the Jerusalem Quartet who have won BBC Music Magazine Awards no less than three times. “Vivid, profoundly intelligent accounts of six of Shostakovich's Quartets. The Jerusalems prove eloquent exponents of these works' tragic intensity and bittersweet lyricism.” - BBC Music Magazine, February 2013.
A new release from the revered Netherlands Chamber Choir, featuring works by Arvo Pärt. This time the choir teams up with the Netherlands Chamber Orchestra in a mixed program of chamber orchestra, choral, and choral a cappella works. The main course on this CD is the rarely recorded and monumental Te Deum. Young Estonian conductor Risto Joost delivers a reading that is rich and inspired.
Since 1996, during the height of the Provençal summer, the beautiful, historic city of Arles has hosted the Festival Les Suds - a joyous musical alchemy that combines singing, music and dance and both explores and redefines the cultural heart of southern Europe (and beyond). Over the course of a week, music from around the world resounds like a universal language. This deluxe, greatest hits package from World Village features highlights recorded over the festival's last decade.
The seven partitas of Harmonia Artificiosa-Ariosa contain some of Biber’s finest chamber music outside of the Mystery Sonatas. They are consistently inventive and delightful. Especially noteworthy is the extended No. 7 in C minor with its lovely Arietta, actually more of a passacaglia/chaconne. No.3 ends with a chaconne structured as a canon in unison over a popular Italian bass line. This is so similar in concept to Pachelbel’s ubiquitous canon that you can’t help wondering if one of them took a cue from the other. Certainly, if wrested from obscurity, Biber’s might give Pachelbel’s a run for its money.
From the early 1630s onwards, Monteverdi had little by little become detached from his secular occupations – perhaps preparing to take his leave of earthly existence. But when he was already over 70 he set to work once more, publishing his eighth book of madrigals before offering the public a bulky collection of sacred works in the shape of the Selva morale e spirituale. Infinitely more ambitious than the comparable anthologies of his contemporaries, the work is here presented complete, enabling the listener to discover the whole range of Monteverdi’s output of sacred music, from madrigals and virtuoso solo motets to the most elaborate polyphony. In his preface evoking the multifarious “creatures” sheltered by this vast “moral and spiritual forest”, the father of Baroque music was merely emphasising the wonderful diversity of styles so characteristic of his wide-ranging genius.
This instrumental ensemble is appreciated for its dynamic vivacity, virtuosic precision, and the historical accuracy of its performance practices. The ensemble has been invited to many of the most important festivals, including the Prague Spring, Flanders Festival, Festival Oude Muziek Utrecht (Ancient Music Festival of Utrecht), Bach Tage Berlin (Berlin Bach Days), Ansbacher Bachwoche (Ansbach Bach Week), the York Early Music Festival, and Wratislavia Cantans.