Lise de la Salle WHEN DO WE DANCE?

 

WHEN DO WE DANCE?

Christian-Pierre La Marca CELLO 360

 

CELLO 360

 

Europa Galante / Fabio Biondi VIVALDI Argippo

 

ARGIPPO

 

David Greilsammer LABYRINTH

 

LABYRINTH

 

Trio Sōra BEETHOV3N Trios avec Piano

 

TRIOS AVEC PIANO

 

Concerto Italiano / Rinaldo Alessandrini MONTEVERDI Il Terzo Libro de' Madrigali

 

IL TERZO LIBRO DE' MADRIGALI

 

Mariana Flores / Hopkinson Smithn DOWLAND Whose Heavenly Touch

WHOSE HEAVENLY TOUCH

 

Accademia Bizantina / Ottavio Dantone VIVALDI Il Tamerlano

IL TAMERLANO

 

Emiliano Gonzalez Toro / I Gemelli MONTEVERDI Orfeo

ORFEO

 

Anne Sofie von Otter / Brooklyn Rider SO MANY THINGS

SO MANY THINGS

Suzana Bartal LISZT Années de Pèlerinage

                                                       ANNÉES DE PÈLERINAGE

Dmitry Sinkovsky / Il Pomo D'Oro VIRTUOSISSIMO

                                                                   VIRTUOSISSIMO

Julien Chauvin / Le Concert de la Loge VIVALDI Concerti per Violino VIII "Il teatro"

                                        CONCERTI PER VIOLINO VIII "IL TEATRO"

Smoking Joséphine AMOURS, TOUJOURS!

                                                          AMOURS, TOUJOURS!

Julien Martineau / Vanessa Benelli Mosell BEETHOVEN Suites

                                                             BEETHOVEN SUITES

Trio SR9 ALORS, ON DANSE?

For their second album on Naïve, the three percussionists (marimba players) of Trio SR9 have chosen to shine the light on the theme of dance, in all its rich variety throughout the history of Western classical music: from Rameau and Bach, to Debussy, Satie and Borodin.

So, shall we dance?

The first part of the album is a set of Baroque dances (Gavotte, Sarabande, Minuet, Gigue...) drawn from the legacy of various European composers. These pieces are presented in the form of a large suite, as was the tradition at the time.

Then we move on to explore Europe of the nineteenth century. A taste for exoticism and folk dance rhythms are here made even more sublime by Claude Debussy with his Tarentelle Styrienne, Béla Bartok with the Romanian Dances and Alexander Borodin with his Polovtsian Dances.

The last part of the disc is dedicated to the mysticism of dance and begins, perhaps unsurprisingly, with the Ritual Fire Dance by Manuel de Falla. It is followed by Narnchygäer, a new work for three marimbas and the first of its kind composed by François Tashdjian especially for the SR9 Trio.

Lastly, it is around the three Danse de Travers by Erik Satie that this programme is weaved. This common thread punctuates each part of the album with sweetness and melancholy.

After a highly-regarded first album, Bach on the marimba, this new programme allows us to go one step further in revealing the many riches of the marimba, the sumptuously-crafted five-octave rosewood instrument. It's via the sound of three marimbas that the Trio SR9 demonstrates its ability to develop the reputation of percussion, all in one choreographed gesture …

Quatuor Diotima BÉLA BARTÓK Intégrale des quatuors à cordes

The Bartók string quartet cycle has been a career rite for quartets since the 1960s, and you can find any number of sets on the market by famed ensembles. There is quite a variety, from very sober, classical readings that emphasize the polyphony and take a very elevated tone (works well in the final String Quartet No. 6, on the dawn of war, where each movement is marked "Mesto," sad), to those that emphasize Bartók the folk music collector. France's Quatuor Diotima come up with often original readings that stand up to those of more famous groups. There are commonalities among the Bartók quartets, but Quatuor Diotima treat each one as an individual and play up the ways in which the composer responded to what was going on around him stylistically. The String Quartet No. 1 shows how Bartók emerged from an essentially French context, and the next three quartets get slashing, intense readings that derive from an Expressionist environment. Bartók's late return to Classical forms draws from Quatuor Diotima a Beethovenian tone. Sample the finale of the String Quartet No. 5, which is one of the most exciting readings out there. In general, you might disagree with a thing or two here, but "exciting" is a good general word. Naïve delivers ideal sound from the Deutschlandfunk Kammermusiksaal in Cologne. (James Manheim)

Delphine Galou / Accademia Bizantina / Ottavio Dantone VIVALDI Musica Sacra per Alto

Vivaldi, the Venetian, master of the whole palette of human emotions. From the church to the opera house, from tragedy to joy, the immediately-recognisable sensibility, the expressiveness, the inimitable colours and an unbeatable talent to say so much in just a few notes.

The contralto Delphine Galou (who recently won a Gramophone Award, one of the most prestigious awards in the classical music world) and Ottavio Dantone's Accademia Bizantina have created two recitals of sacred music and of opera that illustrate the incomparable richness of Vivaldi’s body of work and establish the emotional connections between the two repertoires.

For the first time, two volumes of the Vivaldi Edition (in this case the 59th and 60th) will be released at the same time, with their synergy also reflected in the albums’ artwork.

The recital ‘Musica sacra’ consists of six works of very diverse themes and styles, symbolising the richness of the religious fervour of Antonio Vivaldi's sacred music.

Delphine Galou / Accademia Bizantina / Ottavio Dantone VIVALDI Arie e Cantate per Contralto

Vivaldi, the Venetian, master of the whole palette of human emotions. From the church to the opera house, from tragedy to joy, the immediately-recognisable sensibility, the expressiveness, the inimitable colours and an unbeatable talent to say so much in just a few notes.

The contralto Delphine Galou (who recently won a Gramophone Award, one of the most prestigious awards in the classical music world) and Ottavio Dantone's Accademia Bizantina have created two recitals of sacred music and of opera that illustrate the incomparable richness of Vivaldi’s body of work and establish the emotional connections between the two repertoires.

For the first time, two volumes of the Vivaldi Edition (in this case the 59th and 60th) will be released at the same time, with their synergy also reflected in the albums’ artwork.

The recital ‘Arie e cantate per opera’ (Opera arias and cantatas) shines a light on and alternates between operatic arias and cantatas, which are related in style and colour.

Julien Martineau / Concerto Italiano / Rinaldo Alessandrini COME UNA VOLTA

A luminous, easily recognizable instrument, and a symbol of Italy's learned and popular musical tradition, the mandolin has been the subject of several major compositions throughout the history of music. First of all, the famous concertos by Vivaldi: two of them appear here on this intensely romantic album (‘Come une volta’) that Julien Martineau - one of today’s greatest figureheads of the instrument - has recorded for Naïve. We also finally get to hear, thanks to the world premiere recording by Julien Martineau, the legendary, virtuosic and poetic second concerto (of which the manuscript was lost) by Raffaele Calace (1863-1934), who was often described as "the Paganini of the mandolin". The instrument is in fact so close, in many ways, to the violin. The Caudioso concerto completes an album which, steeped in authenticity and musical excellence, honors and lends prestige not only to the art of mandolin, but also to Italian and musical culture as a whole.