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The independent music group Outhere produces around one hundred recordings every year, ranging from early music to contemporary, by way of jazz and world music. These are released all over the world in both physical and digital form. Outhere Music’s success is founded on the consolidation and articulation of labels with a strong individual identity, which today number nine: Aeon, Alpha, Arcana, Fuga Libera, K 617, Outnote, Phi, Ramée, Ricercar, and Zig-Zag Territoires. The group’s philosophy gives pride to place to the quality of its relationship with the artists, meticulous attention to the realisation of each project, and its openness to new forms of diffusion and relations with the public.
Table of Content Aeon p.4 Alpha p.7 Arcana p.13 Fuga Libera p.17 K617 p.19 Phi p.20 RamĂŠe p.21 Ricercar p.23 Zig-Zag Territoires p.27 Collection Instinct p.31 All the information included in this document (titles, release dates, covers, etc...) is subject to change
Hilda Paredes
AECD 1439
Cuerdas del Destino Arditti Quartet Jake Arditti
Release 02/2
015
The Arditti Quartet’s latest release is devoted to the Mexican-born composer Hilda Paredes. Now living in England, she does not, for all that, disown her roots. Born in Tehuacán, in Puebla State, she engages critical reflection, vis-à-vis the multiple Mexican, indigenous and folk cultures, that closely combines the imaginary and political, all in writing of remarkable precision and refinement. Convinced that the language spoken by a composer shapes his or her music, she likes to work the voice in all its expressive singularities, here that of countertenor Jake Arditti, Irvine Arditti’s son. There is no ‘Mexican-ness’ with Hilda Paredes, in the sense of that stereotyped colourful sensuality, but rather a close relation to the poetic speech of Mexico and the European avant-garde.
William Blank
AECD 1542
Reflecting Black Orchestre de la Suisse Romande David Lively Pascal Rophé
Release 02/2
4
015
Here, the Orchestre de la Suisse Romande and Pascal Rophé, with whom the Æon label has collaborated since 2003, give us a very fine William Blank monograph, the fruit of the orchestra’s sustained work with this essential representative of Swiss creation, alongside his elder Heinz Holliger and his contemporary Michael Jarrell. Born in 1957 in Montreux, William Blank, composer and conductor, is performed the world over. With him, there are no (or few) evanescent layers, aleatoric or improvised passages. Rather, there is a sort of pointillism with a human face, a maniacal love of small detail behind which emotion is flushed out by harsh, searing intensity or dense outpourings. The works on this programme are representative of the recent evolution in his work, especially the piano concerto, Reflecting Black, written in homage to the painter Pierre Soulages and magnificently served in this recording by pianist David Lively.
Tristan Murail
AECD 1222
Le Partage des eaux, Contes cruels, Sillages BBC Symphony Orchestra Netherlands Radio Philharmonic Pierre-André Valade
Release 04/2
015
2 CDs AECD
With this second monograph in the catalogue, æon confirms its attachment to one of the principal representatives of spectral music in France and abroad. Tristan Murail, a major composer and former student of Messiaen’s who early on freed himself from serialism, explores the whole sound spectrum, which he recomposes using the new technologies. Blending both Nature as a source of inspiration and the tools of computer analysis as compositional means, the composer lies within the great French tradition of naturalist music going back to the 18th century. A way of returning to the natural model. The works for large orchestra brought together in this recording present an extensive panorama of the composer’s output between 1985 and 2007, haunted by his futuristic visions and dreamlike elsewheres.
György Ligeti - Béla Bartók
Concerto pour piano, Concerto pour violon, Concerto pour violoncelle Contrastes, Sonates pour 2 pianos et percussions Ensemble Intercontemporain Matthias Pintscher, conductor
This set is the first testimony to the newly established long-term collaboration between Æon, the Ensemble Intercontemporain and its new musical director, Matthias Pintscher.
015 Release 05/2
This collaboration will result in creations, in particular those of Matthias Pintscher (upcoming release on Æon), thematic projects and ‘reprises’ of major classics of the 20th century. With all the combined talent of the musicians of the Ensemble and its new conductor, this set sheds new light on two major 20th-century Hungarian composers, Bartók and Ligeti. Putting them side by side allows for better understanding one by relying on the language of the other and, quite simply, more closely approaching some of the major works of a century only recently ended.
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Domenico Scarlatti - Joseph Haydn
AECD 1545
Piano Sonatas Olivier Cavé
Release 06/2
015
An original programme with which the Swiss pianist Olivier Cavé succeeds in summarizing two universes that might, however, a priori appear remote: Domenico Scarlatti vs. Joseph Haydn. In the same album, Olivier Cavé confronts two complementary visions of the keyboard. ‘With this project, I wanted to connect these two composers,’ he tells us, ‘for, when playing Haydn, I always had the feeling that he was familiar with Scarlatti’s music.’ For these two composers, the keyboard is the alphabet of a distinctive language; in a style both playful and mischievous, they composed with a bantering humour, unlimited amusement, unfailing virtuosity and a perfect sense of description. Paradoxically, the two composers meet in their slow movements, of unparalleled simplicity and amazing naturalness that give this music, generations apart, very great lyrical depth. This recording shows to what degree the impact of Scarlatti’s music on Haydn’s keyboard compositions is undeniable. For this project, Olivier Cavé has relied on the learned advice of the American musicologist Elaine Sisman.
Liza Lim - Mauro Lanza - Rebecca Saunders James Dillon - Thierry Blondeau
AECD 1647
Solitude Séverine Ballon
Release 06/2
6
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The supernatural drifts of the compositions brought together in this recording, served by the power and playing technique of Séverine Ballon, reveal unexpected facets of expressiveness in the contemporary cello. Fully engaged in the renewal of its repertoire, Séverine Ballon especially favours conversing and working with the composers, in the intimacy of the ‘sound factory’. Having initiated numerous creations to which this recital admirably bears witness, here she offers us a tailor-made programme in the heart of the compositional process. Once again, what could have been likened to risk-taking allows Séverine Ballon to affirm, forcefully and with conviction, her artistic identity, her commitment and her very particular place in the world of the contemporary cello.
Johann Sebastian Bach
Alpha 199
Motets BWV 225 – 230, BWV Anh. 159 Capella Cracoviensis Fabio Bonizzoni, conductor
Each of the motets on this programme –most of which for double chorus – was intended for highly reduced forces, most likely made up solely of soloists. The writing is indeed complex, woven in an extremely skilful counterpoint that requires great transparency in order for the interlacing to be experienced fully.
015 Release 01/2
The ensemble and soloists of La Capella Cracoviensis give a reading of considerable vitality, both informed and removed from too exclusively a religious approach. And Fabio Bonizzoni assumes all the virtuosity that these magnificent works contain.
Love I Obey
Alpha 538
Rosemary Standley, voice Bruno Helstroffer, guitar & theorbo Elisabeth Geiger, organ, muselaar & harpsichord Martin Bauer, viola da gamba Michel Godard, bugle & serpent
015 Release 02/2
Rosemary Standley, a Franco-American singer with a gentle, charismatic voice, tackles Baroque repertory with sobriety and elegance. She is accompanied by the ensemble of Bruno Helstroffer, a guitarist and lutenist at the crossroads between ‘early’ and ‘modern’ worlds, made up of musicians who specialise in early instruments (harpsichord, organ, viola da gamba, serpent). Love, I Obey is the evocative title of a poignant tribute to ballads that seem to warp time. Yes, the music comes from the past, but those who perform it are steeped in the present. One listens to Love, I Obey like a proposition and experiences it like a fantasy, with its everyday stories that give us an insight into History with a capital ‘H’. The in-depth research pursued like a musical detective by the group’s harpsichordist Elisabeth Geiger restores to life pieces forgotten for 400 years, such as the title song by William Lawes: Love, I Obey.
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DVD Alpha 706
Henry Purcell Dido & Æneas Le Poème Harmonique Vincent Dumestre, conductor Didon : Vivica Genaux, mezzo soprano Enée : Henk Neven, baryton Belinda : Ana Quintans, soprano
After the success of the DVDs devoted to Le Bourgeois Gentilhomme and Cadmus & Hermione, Vincent Dumestre and Le Poème Harmonique continue their exploration of repertoires of the 17th century.
Release 02/2
015
This piece, combining theatre and music, allowed Purcell to achieve his dramatic ideal. In fact, he wrote only a single opera in his short career – he died at the age of 36 –, but with it, he left us a gem of rare beauty and extreme concision. The work’s genius is also due in part to the quality of the libretto, skilfully put together by Nahum Tate. Cécile Roussat and Julien Lubek, stage directors coming from the arts of the circus and the mime Marceau, had already collaborated with Le Poème Harmonique on the Carnaval Baroque. Here, they combine mime, dance and acrobatics with the music in a moving, magical production.-
1 DVD & 1 Blu-Ray Alpha 705
Claudio Monteverdi Vespro della beata vergine Monteverdi Choir English Baroque Soloists Choeur d’enfants de la Maîtrise du Centre de Musique Baroque de Versailles Sir John Eliot Gardiner, conductor
In 1610, Monteverdi gave his Vespers for the Virgin in Mantua before conquering the Basilica of Saint Mark in Venice. This was the first great sacred masterpiece of the Baroque. Following the brilliant Orfeo (1607), the Vespers borrow its opening fanfare and positioned Monteverdi as the leading composer of his time.
Release 03/2
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015
J. E. Gardiner founded the Monteverdi Choir, one of the world’s finest choruses, specifically for this work, which he conducted for the first time in 1964 and subsequently recorded twice. With the present recording, where the image ideally accompanies the music, J. E. Gardiner wanted to make more perceptible the spatialisation that characterized Venetian music, by using the specific architecture and different levels of the Chapelle Royale at Versailles.
Georg Philipp Telemann
Alpha 200
Ouverture pour orchestre en Ré majeur Concerto pour flûte Concerto pour flûte & violon Les Ambassadeurs Alexis Kossenko, conductor
Release 03/2
015
Alexis Kossenko returns to centre stage with a project focussing on works by Georg Philipp Telemann, one of the most prolific composers in the history of music, with more than 6,000 works to his name! From them, Alexis Kossenko has chosen two concertos with orchestra: one for flute, the other for flute and violin, preceded by an overture. This programme is perfectly composed to demonstrate what a great Baroque conductor he has become as well as, of course, showcasing his impressive qualities as a flautist. It is also the occasion to again find Zefira Valova as Konzertmeister and soloist in one of the concertos.
DVD Alpha 707
Molière et Lully Le Bourgeois Gentilhomme Ensemble Baroque de Limoges Christophe Coin, musical direction Denis Podalydès, staging
Le Bourgeois Gentilhomme is the sparkling result of the union of the geniuses of Molière and Lully, working together for the pleasure of Louis XIV. Here, Molière is served by Denis Podalydes’s staging, and Lully by Christophe Coin and the Ensemble Baroque de Limoges, with costumes by Christian Lacroix. This work’s comic force has not aged a bit, and its ability to make text and music coexist remains marvellously intact.
Release 04/2
015
This DVD is an invitation to a ‘total spectacle’!
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Franz Schubert - Franz Liszt
Alpha 470
Schubert meets Liszt Orchester Wiener Akademie Martin Haselböck, conductor
Release 04/2
015
This year, Alpha is initiating a collaboration with conductor Martin Haselböck and the Orchester Wiener Akademie. In particular, two large cycles will see the day: one devoted to Liszt, the other to Beethoven, with the aim of bringing these works back to life in the venues that hosted their first performance or subsequent performances shortly thereafter (in the case of this CD: Raiding, Franz Liszt’s birthplace). And, of course, their interpretation is based on the use of period instruments or instruments mounted in the old style. This first release in Alpha’s Liszt cycle is devoted to works by Schubert orchestrated by Liszt, thus showing his strong attachment to these Schubert works and his wish to give them an orchestral sweep.
Joseph Haydn
Alpha 671
Il Filosofo Il Giardino Armonico Giovanni Antonini, conductor
Release 04/2
015
For this second volume in the Haydn 2032 project, the complete recording of his symphonies, Giovanni Antonini has chosen to put forward the Symphony ‘Der Philosoph’. He associates with it a symphony by Wilhelm Friedemann Bach, eldest son of the Kantor of Leipzig, who is generally considered the most gifted of his sons. Different reasons brought these two great composers the originality and sometimes eccentricity that characterize their works, one suffering from the fame of his father, the other from his own genius. Whereas Haydn’s symphonies differentiate themselves by form, orchestration and keys, W. F. Bach’s begins in the style of a Baroque overture, gradually turning into a tempestuous piece and perhaps already reflecting the transition from a ‘Golden Age’ to the more tormented world that will follow the Age of Enlightenment.
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Purcell - Locke - Hersant - Martin & Pécou
Alpha 608
The Tempest Ensemble Luce del Canto & Europa Barocca, choir and orchestra Simon-Pierre Bestion, conductor
Release 05/2
015
A profoundly modern dimension emerges from this confrontation between English works from the 17th century (Henry Purcell, Matthew Locke) and works from the 20th and 21st centuries (Philippe Hersant, Franck Martin, Thierry Pécou). Coming from highly different musical universes, each composition is, however, largely inspired by the founding themes of Shakespeare’s play, sometimes taking up excerpts from it. The text is recited in English, or rather Shakespeare’s ‘Old English’, as are all the sung parts, in order to reproduce the strong, sweet accent of that tongue.
André Campra
Alpha 958
Tancrède Orchestre les Temps Présents Olivier Schneebeli, conductor Tancrède : Benoit Arnould, baryton Clorinde : Isabelle Druet, mezzo-soprano Herminie : Chantal Santon, soprano Argant : Alain Buet, baryton Isménor : Eric Martin-Bonnet, bass
015 Release 05/2
A Baroque West Side Story, Tancrède tells of the absolute but impossible love between two young people brought together by their passion but separated by their origins. We are in the time of the Crusades: Tancredi is the champion of the Frankish army, and Clorinda the passionaria of the Saracen troops. In the labyrinth of sentiments, the magic wand of the sorcerer Isménor confuses the issues, luring the two heroes into the enchanted forest to better prepare their downfall. Dances, choruses and arias merge in a subtle, poetic mixture, magnified by the dialogues sung in the grand tradition of French prosody and the tragédie lyrique. With Tancrède, André Campra established himself as one of the great opera composers between Lully and Rameau.
11
L.V. Beethoven
Alpha 201
Works for pianoforte Olga Pashchenko, fortepiano
Olga Pashchenko makes a conspicuous entrance in the Alpha catalogue with a disc devoted entirely to Beethoven. One will remember her interpretation of Opus 111, released by Fuga Libera, of which the appropriateness and maturity left a powerful impression. In this new recording, Olga Pashchenko has chosen to combine the two Opus 49 sonatas and three sets of variations, thus tackling what are commonly called ‘smaller forms’ but which remain major Beethoven works nonetheless.
Release 06/2
12
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015
This young pianist (she is not yet 30) commands admiration for her way of always enlarging her route, which is already long (she gave her first recital when she was 9, in New York), relying on certain great influences (in particular, Alexei Lubimov) and thereby further affirming her personality as an exceptional musician
2 CDs A 381
Heinrich Ignaz Franz Biber The Rosary Sonatas Gunar Letzbor Ars Antiqua Austria
Release 01/2
015
4 CDs A 382
Recorded in the beautiful acoustics of the parish church of Hallstatt (Austria), where Gunar Letzbor was born, this personal and dramatic interpretation of Biber’s most popular work, usually referred to today as the ‘Mistery’ or ‘Rosary’ sonatas, comes back after years of absence. Gunar Letzbor makes his journey through the ‘mysteries’ or events in the life of the Virgin Mary using two different violins and accompanied by no fewer than six musicians playing kaleidoscopic combinations of harpsichord, organ, lute, archlute, two bass viols and double bass – a big continuo group which enhances and intensifies the changing moods of the cycle.
Figures Of Harmony Songs of Codex Chantilly, c. 1390 Ferrara Ensemble Crawford Young
Presented in a stylish 4-CD box set, here is a comprehensive recording of one of the most enigmatic manuscripts in the history of European music, preserved in the museum at the Château de Chantilly in France.
Release 02/2
015
‘Anything that can be sung, can be written in music notation,’ claimed an anonymous treatise on notation in the late fourteenth century. The harmonies thus ‘captured’ on parchment represent an apex in Western music, associated with the wealthiest courts in Christendom, called ‘decadent’ by some. Various elements of improvisation – avant-garde dissonance, astonishing rhythmic complexity, arching, lyrical melisma – meld into musical forms which test the boundaries of late Gothic sensibilities. Here are love songs for the End of the World: a time of deadly plague, devastating earthquakes, endless war, disintegrating religion, and the explosion of science and measurement.
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3 CDs A 383
Johann Sebastian Bach Suites for Solo Cello & Gamba Sonatas Wieland Kuijken, cello & bass viol Piet Kuijken, harpsichord
Release 03/2
015
Bach aficionados will be delighted to find again Wieland Kuijken in this reference album coupling the Cello Suites and Gamba Sonatas (with his son Piet), originally released in 2004 and shortly afterwards out of print. As Wieland Kuijken confesses in his interesting text, he laboured over the Cello Suites with his instrument (credited to Andrea Amati) for 30 years before eventually deciding that his interpretation was ready for this compelling recording: ‘Today more than ever, I think it is a whole lifetime that one puts into these works, regardless of whatever one might say, whatever one might know.’
Johann Sebastian Bach
A 384
The Musical Offering Ensemble Aurora Marcello Gatti, flute Enrico Gatti, violin Gaetano Nasillo, cello Guido Morini, harpsichord
Release 03/2
015
Whereas The Art of the Fugue remains wrapped in respectful veneration and an aura of mystery, the contemporary Musical Offering has acquired relatively longstanding popularity. This is somewhat paradoxical, however, as the work is no less complex, and its overall architecture raises just as many questions. In 1980, the musicologist Ursula Kirkendale was able to show that the various pieces of the Musical Offering are organized exactly like the various constituent parts of the discourse according to Quintilian’s ancient treatise on oratorical art. Taking his cue from this hypothesis, Enrico Gatti presents this cryptic masterpiece with his Ensemble Aurora, here composed of his brother Marcello (flute) and two artists well known to the Arcana catalogue: cellist Gaetano Nasillo and harpsichordist Guido Morini, leader of the Accordone ensemble. Also included on this disc is the Sonata BWV 1021 (for violin and basso continuo) and its arrangement as Trio Sonata BWV 1038 (for flute, violin and continuo).
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Sonate napoletane per violoncello
A 385
Gaetano Nasillo, cello Michele Barchi, harpsichord & organ Sara Bennici, cello
015 Release 04/2
Ten years after the success of the Neapolitan cello concertos, accompanied by the Ensemble 415 conducted by Chiara Banchini (Zig Zag Territoires), Gaetano Nasillo comes full circle with this collection of Neapolitan cello sonatas, a worthy sequel to the previous recording. Best known for its contributions to vocal music, Naples was also one of the birthplaces of the modern violoncello: the programme provides a fascinating overview of the Neapolitan repertoire for the instrument from its onset at the end of the 17th century to the second half of the 18th century. It offers a good balance between well-known composers of the Neapolitan School (Pergolesi, Porpora) and less familiar cellist-composers (Alborea, Lanzetti, Supriani, Pericoli) who established new standards in cello technique that would define the later cello repertoire through these cellists’ successes in France and England.
George Frideric Handel
A 386
The Music for the Royal Fireworks Zefiro Alfredo Bernardini
Release 05/2
015
Originally released in 2008, Zefiro’s account of the Musick for the Royal Fireworks is one of the Italian ensemble’s most successful recordings (among others, Diapason d’or of the Year 2009 and Gramophone Editor’s Choice) and remains a benchmark version for this celebrated spectacular masterwork. Here it is again in their Arcana series, on the occasion of a new European tour with Handel’s Firework Music scheduled in June with performances in Grenoble, Versailles, Luxembourg and Halle. « This is one of the most enjoyable disc of Handel’s orchestral music to have come my way in a long time » (David Vickers, Gramophone) « Les Royal Fireworks abondent, mais on les a rarement vus si colorés, si naturels, enfin si joyeux que dans cette réalisation italienne » (Ivan A. Alexandre, Diapason)
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Venecie Mundi Splendor
A 387
Music for Doges La Reverdie
Release 06/2
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Recorded in the bright acoustics of the Cenacolo of San Giorgio Maggiore Monastery in Venice, the new recording project of La Reverdie brings together, for the first time, musical compositions written approximately between 1330 and 1430 in honour of the Venetian Doges or for the city of Venice itself. The title is borrowed from the text of one of the most famous motets composed by Johannes Ciconia on the occasion of the submission of the Comune of Padua to the Republic of Venice, which occurred in 1406. The project includes the nine ceremonial motets that, according to the latest research, were composed to commemorate political, diplomatic or devotional events as well the election of the Doge. The composers include Marchetto da Padova, Francesco Landini, Johannes Ciconia, Antoinius Romanus, Cristoforo de Monte and Hugo Lantins. The choice to make use of a rich and varied ensemble, with ample participation of both singers and instrumentalists, is intended to properly render the extravagant and festive qualities of this repertoire, conceived for the most sumptuous state celebrations.
Astor Piazzolla
FUG 721
In the Mood for Movies Astoria
Astor Piazzolla is, without any doubt, the best-known composer of Argentinian music. At the crossroads of numerous styles, his work jubilantly combines tango, classical music and jazz. Initially rejected for his ‘avant-gardism’ by the upholders of traditional tango, his style ended up imposing itself to the point of becoming the genre’s figure of reference.
015 Release 01/2
In this album, Astoria embarks on a new theme in this great composer’s life and career: the film scores. Between Enrico IV, Tango: The Exile of Gardel or Twelve Monkeys, the ensemble proposes the discovery, on the one hand, of the scores composed for the cinema and, on the other, pieces reprised by great film directors for adorning their creations with the colours of the Piazzolla tango.
Boyan Vodenitcharov
FUG 722
Random Patterns Boyan Vodenitcharov, piano
Release 02/2
015
‘What possible motive can a classical musician today have for sitting and improvising when the very word «improvisation» has practically become an insult for a large part of the classical music world? Well, his aim would certainly not be to insult anyone whomsoever, even though those among us who feel irritated, intimidated, bothered, scandalized, or indignant at the close presence of improvised music might, in that case, benefit from a little insult...’ Boyan Vodenitcharov Unjustly excluded from the classical music sphere for more than a century, improvisation has, however, been at the centre of the compositional process for a very long time. With this recording, Boyan Vodenitcharov pulls off the double wager of reintroducing improvisation as a musical act in the strict framework of classical music and of making us overlook our cultural prejudices and remind us of its primary aim: music.
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Béla Bartók - Johann Sebastian Bach
FUG 723
Sonata for Solo Violin & Partita No. 2 Jean-Frédéric Molard, violin
The genesis of this recording of Béla Bartók’s Sonata for Solo Violin is a story of filiations: Endre Kleve, Jean-Frédéric Molard’s professor, was himself a student of Andre Gertler’s, a friend of Bartók’s. Consequently, the interpretation proposed here by the violinist is a mixture of this oral heritage and of personal research on the various editions of the score, enriched by the study of the correspondence between the composer and Yehudi Menuhin, to whom the work is dedicated.
Release 03/2
015
And there is another story of relation since Bartók, by beginning his Sonata with a Tempo di ciaccona, creates a parallel with Johann Sebastian Bach’s very famous Chaconne, the last movement of his monumental Partita No. 2, demonstrating to what degree the German composer influenced the history of writing for solo violin. Menuhin would say of it that it was ‘the most grandiose structure that exists for solo violin’.
Alexandre Scriabin - Kirill Zaborov
FUG 724
Dialogue Laurence Oldak, piano
Dialogue is the story of a poetic exchange between Laurence Oldak and two composers a century apart: Alexander Scriabin, the centenary of whose death is being commemorated on 14 April 2015, and Kirill Zaborov, a talented contemporary Franco-Russian composer.
015 Release 04/2
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This recording has its origin in the encounter between the pianist and the latter, whose music, full of imagery, betrays his Slavic origins and romantic inspiration. In a refined interpretation full of expressiveness, Laurence Oldak thus proposes a ‘Russian alliance’ and invites us to discover four pieces by the young composer – including his 10 Apparitions, which she premiered in November 2012 –, interspersing them with works by Scriabin, including the complete cycle of 8 Etudes, Op. 42 and the very intense Sonata No. 4, Op. 30.
Mikołaj Zielenski
K617 248
Musique sacrée Les Traversées Baroque Etienne Meyer, conductor
Les Traversées Baroques continue their exploration of the sacred music repertoire in Northern Europe.
Release 01/2
015
After Marcin Mielczewski, today it is Mikolaj Zieleński to whom the ensemble wished to devote this new recording, restoring to favour this great Polish Baroque composer. His life is but a long series of question marks, yet all his music suffices, with its magnificence, to make up for the silence. A new rediscovery from K617!
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Antonín Dvorák ˇ
LPH 016
Requiem, Op. 89
Collegium Vocale Gent deFilharmonie Philippe Herreweghe, conductor Ilse Eerens, soprano Bernarda Fink, alto Maximilian Schmitt, téenor Nathan Berg, bass
015 Release 03/2
The Collegium Vocale Gent, deFilharmonie and Philippe Herreweghe join forcˇ es once again for a monument of the sacred choral repertoire: Antonín Dvorák’s Requiem, Op. 89. This work, dating from 1890, is one of those that marked a new phase in the composer’s musical creation, in which he recognized himself ‘as much a poet as well as a musician’. In addition, this reveals the veritable nature of a composer without constraint, probably being neither a commission nor an occasional work. Philippe Herreweghe offers us an interpretation as dense and concentrated as the writing of this masterpiece requires.
Cantigas de Santa Maria
LPH 017
Hana Blažíková, leader, soprano & harp Barbora Kabátková, soprano & harp Margit Übellacker, dulce melos Martin Novák, percussion
Release 05/2
015
The Cantigas de Santa Maria come from the imposing collection of the court of Alfonso X el Sabio, which offers us one of the most precious sources of mediaeval Spanish music. The Cantigas take us to the end of the Reconquista of the Iberian peninsula and to the very heart of the culture where Christian, Muslim and Jewish traditions mingle. These songs are interesting not only for their absolutely unique musical language but also for their Portuguese and Galician texts in which are combined poetry, popular stories and hymns, most of them praising miracles of the Virgin Mary. Starting from illuminated manuscripts that give us an idea of the instruments used at the king’s court, the ensemble Tiburtina performs these works like a dialogue between two women’s voices, enriching it with two harps, a dulce melos and percussion. Whether using the whole consort or putting the instruments aside, this subtle interpretation has its source in plainchant and the music of the troubadours, with a touch of Arabizing ornaments and improvisation.
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Ich will schweigen
RAM 1401
Johann Hermann Schein and the Leipzig Stadpfeiffer tradition Alice Foccroulle Reinoud van Mechelen Béatrice Mayo-Felip InAlto - Lambert Colson, conductor
Release 01/2
015
When Johann Hermann Schein became Kantor at the church of Saint Thomas in Leipzig in 1616, he had, on the one hand, to satisfy the liturgical demands of his Lutheran parish and, on the other, compose music that was truly contemporary, sensible to the new style coming out of Italy. Schein exploited the new possibilities brought by the basso continuo, demonstrated his mastery of musical rhetoric and wrote extremely ambitious music of great expressive force. The instrumentation calls for instruments such as the cornet, trombone and dulcian, Schein drawing his musicians from the forces of the Stadtpfeiffer and Ratsmusiker, guilds of instrumentalists attached to the City of Leipzig since the 15th century. For this musical portrait of Schein, one of the greatest German composers of the 17th century and one of J. S. Bach’s most talented predecessors, InAlto presents an itinerary to the sources of the German cantata and testimony to the extraordinary tradition of city musicians perpetuated over the centuries. In addition to Schein’s music, this heritage is represented here by Johann Schelle, Gottfried Reiche and J. S. Bach.
Pierre Danican Philidor
RAM 1405
Suittes à deux flûtes traversières seules Marie-Céline Labbé, traverso Marion Treupel-Franck, traverso
Release 03/2
015
For this second recording devoted to French Baroque music for two solo transverse flutes, Marie-Céline Labbé and Marion Treupel-Franck perform the six suites by Pierre Danican Philidor (1681-1731), pieces taken from the three collections published by the composer in Paris in 1717 and 1718. Written in a highly original style in which one senses the spirit of freedom blowing over Versailles and France during the regency of the Duke d’Orléans, these short suites, in addition to the principal dances in vogue at the court of Versailles in the early 18th century, each comprise a fugue. A few brunettes by Michel Pignolet de Montéclair (1667-1737) round out the programme. The brunette, a little rustic song with an evocative title, was a musical genre quite popular in the late 17th and early 18th centuries. The selection proposed here will enable the listener to discover another facet of the work of Montéclair, the composer who was the object of the two flautists’ first recording (double-CD Ramée RAM 1102).
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Polonica
RAM 1406
Music with Polish Connotations in European Lute Tablatures c.1600 Michal Gondko, Renaissance lute
Release 04/2
015
Apart from the works attributed to Polish lutenists active internationally around the year 1600, numerous European anthologies of lute music preserve a substantial repertoire of predominantly unattributed works identified as ‘Polish dances’ or ‘Polish songs’. Characterized by an irresistible melodic charm and straightforward harmonic language, they travelled as far abroad as Italy, France, the Low Countries and Scandinavia. This wide geographical spread of musical ‘Polishness’ is unprecedented and can be attributed to the long and costly European grand tours undertaken by young Polish noblemen as part of their education. Four centuries later, Polish lutenist Michal Gondko sets out to trace polonica in the sources of late Renaissance lute music. On this, his debut solo recording, he presents a selection of forty compositions, offering interpretations that carry a highly personal stamp. Much of this repertoire has not been previously recorded or published.
Dialogues
RAM 1407
Suites pour deux violes de gambe de Marin Marais (1656-1728) Mieneke van der Velden, viola da gamba Wieland Kuijken, viola da gamba Fred Jacobs, theorbo
A noteworthy fact: Marais, in his five books of Pièces de viole, published only two suites for two viols and continuo. Aside from the two suites for three viols (Book IV), all the other pieces are intended for the solo instrument with accompaniment of harpsichord, theorbo or a second viol in different combinations.
Release 05/2
015
These two particular suites are both found in Book I (1686). The addition of a second solo viol reinforces the character of the various parts: especially in the slow sections, Marais ideally emphasizes the sound of the two viols with long sostenuto lines and poignant dissonances. The Tombeau pour Mr. Meliton constitutes the absolute height of this. After Mieneke van der Velden’s recordings Hommages and Images, Dialogues completes the picture of the imposing sound world of Marin Marais’s music, magnified by the collaboration with the master Wieland Kuijken.
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Mario Capuana - Bonaventura Rubino
RIC 353
Requiem Choeur de Chambre de Namur Leonardo García Alarcón, conductor
Dated respectively 1650 and 1653, the Requiem Masses by Capuana and Rubino are apparently the only two settings of the Requiem to have been composed in Sicily during the Baroque period. Capuana’s work is imbued with the intense emotion of the madrigal school whilst the second is a true apotheosis of Renaissance polyphony.
015 Release 01/2
World premiere recording!
Sulla Lira
RIC 354
Le Miroir de Musique Maria Cristina Kiehr, soprano Giovanni Cantarini, tenor
Release 02/2
015
Among the different practices of the Renaissance in 15th and 16th century Italy, the act of singing to the accompaniment of the lyre held a special symbolic role, linked to the myth of Orpheus and to the divine figure of Apollo. With its origins lying in the humanist circles of the mid-15th century, this recitation of epic and lyrical texts initially took the form of monophonic music accompanied by the lira da braccio, itself an antiquated transformation of the bowed vielle of the 15th century. With the invention of the lirone in the years around 1500, the role of the accompaniment was gradually transformed, to be revived in the recitative style of the 1600s which led to the development of the earliest operas.
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Romero - Selma y Salaverde - Zamponi Cabezon - Arauxo - Cererols…
RIC 358
EZ VELÁZUQSIU C AND THE M E OF HIS TIM —
Velázquez and the Music of his Time Chœur de Chambre de Namur Cappella Mediterranea Clematis La Fenice Bernard Foccroulle Leonardo García Alarcón…
0 Release 03/2
15
On the occasion of the exhibition that the Grand Palais in Paris is devoting to Diego Velázquez, this disc proposes an evocation of the music that one could have heard at the court of Spain under the reigns of Philip III and Philip IV. Heirs to the tradition of the Flemish polyphonists, the sacred and secular repertoires increasingly assimilated the influences of the melodies and rhythms of folk music. As attest the painter’s stays in Italy, Spanish composers were also charmed by the novelties of the Italians’ Baroque language.
Cipriano De Rore
RIC 355
Ancor che col partire Vox Luminis Clematis L’Achéron Chœur De Chambre De Namur Cappella Mediterranea Jean Tubery Bernard Foccroulle...
Release 03/2
015
RICERCAR is celebrating its 35th anniversary in a highly original way with an homage to the most brilliant Flemish composer of the Renaissance! The work of Cipriano de Rore (1515-1565) enjoyed considerable success that continued well beyond his death. Some of his madrigals are to be found in dozens of ornamented versions, and this up until the beginning of the 17th century, which is truly exceptional. To illustrate this anniversary, the main artists loyal to Ricercar have made their original contribution to this disc that will offer a very complete picture of Cipriano de Rore’s work in the fields of religious and secular music. The madrigal Ancor che col partire, with its text of erotic innuendos and its numerous instrumental versions, provides the main thread of this programme.
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Giovanni Legrenzi
RIC 356
I GIOVANN L E GR E N Z I
Sonate da Chiesa e da Camera Clematis
SONATE & DA CHIESAA DA CAMER
After Farina and Vitali, Clematis continues its exploration of the Italian Baroque instrumental repertoire with sonatas by Legrenzi. Taken from collections published in Venice by Giovanni Legrenzi between 1655 and 1673, these sonatas constitute a highly representative set of instrumental music from the generation between Monteverdi and Vivaldi. Recorded in two different venues, the anthology lets us discover these compositions either in the church acoustic with its loft organ or in a more intimist chamber music setting. The variety of forms and forces ensures a fine diversity of styles ranging from the sonatas still close in spirit to those of Biagio Marini up to those for four violins foreshadowing Vivaldi’s generation.
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CLEMATIS
Release 04/2
RIC 347
015
DIGIBOX 2
CD’s
Johann Bach - Johann Christoph Bach Johann Michael Bach Motetten
AHCAH BJo nn
pH CHristo JoHAnn n MiCHAel JoHAn tten Mote
—
INIS VOX LUM eUNIeR LIONeL M
Release 05/2
015
Vox Luminis Lionel Meunier, conductor
After its successes in the field of German Baroque religious music, here VOX LUMINIS proposes the first complete recording of the motets by Johann Sebastian Bach’s ancestors. These motets, most of which are written for double choir, blend the old tradition inherited from the polyphony of the Renaissance with expressive work inspired by the fashions of the madrigal. The chorale melodies that are quite frequently associated with these motets contribute this colour typical of the Luthe an liturgical repertoire. Johann Sebastian Bach drew on the family tradition in large part when tackling this genre and mastered this writing that was archaic for its time. The proximity between his compositions and those of his ancestors is a tounding, and it is not without reason that the motet providing the title for this recording, Ich lasse dich nicht, is attributed sometimes to Johann Sebastian, sometimes to his uncle Johann Christoph. But beyond the historical considerations, these motets are filled with touching, humble and profound emotion that the talent of the Vox Luminis singers carry to the exceptional level to which the ensemble has accustomed us!
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RIC 357
DIGIBOX 7
CD’s
ONY AN SYMPH THE PARISIONIE PARISIENNE PH M SY RIS LA ONIE IN PA DIE SYMPH
— ENS LES AGRÉAM AS
LES PLEIAD
ES
GUY VAN W
Release 06/2
26
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015
Ricercar Collection Pléiade La Symphonie Parisienne Les Agrémens Guy Van Waas
It was at Le Concert Spirituel that the Germanic-style symphony made its appearance in Paris. This story began in the 1750s with the arrival of musicians from Mannheim, including Johann Stamitz, in the French capital. Subsequently, various composers such as the Belgian François-Joseph Gossec appeared as the creators of the earliest French symphonies before Haydn’s symphonies enjoyed a very particular success there. This set, released on the occasion of the 20th anniversary of Les Agrémens, takes up most of the recordings conducted by Guy Van Waas in a repertoire bringing together composers played in Paris at the end of the 18th century (Gossec, Grétry, Haydn, Krauss), and announcing the beginnings of the Romantic symphony with two recording premieres: a symphony by Hérold and Beethoven’s Second Symphony.
Fauré - Britten - Schubert - Brahms - Liszt…
ZZT 355
Nocturnes Rupert Charlesworth, tenor E. Herchenroder, piano
Night and its mysteries have always inspired poets and musicians. This recital for voice and piano remembers that and is presented as a nocturnal stroll through diverse aesthetics, disturbing atmospheres and profoundly contrasting emotions. The programme combines the well-known (Schubert, Brahms, Fauré) and the illknown (Bax, Finzi or Berkeley) to constitute a fascinating Ode to Night.
Release 01/2
015
This CD also marks the beginning of a collaboration between the Aix-en-Provence Festival Académie and Outhere Music, aimed at accompanying the talent of young artists. In partnership with the Aix-en-Provence Festival Académie and HSBC
Ludwig van Beethoven - Franz Liszt
ZZT 356
Symphonies nos. 4 & 5 Yury Martynov, Blüthner piano (1867)
It is the 1867 Blüthner, chosen for the previous volume of this complete recording of Liszt’s transcriptions of the Beethoven symphonies, that Yury Martynov has again adopted for the Fourth and Fifth.
Release 01/2
015
About his own approach, Liszt said: ‘I would be satisfied if I accomplished the task of the intelligent engraver or the conscientious translator who grasp the spirit of a work as well as the letter and thereby contribute to propagating knowledge of the masters and the sentiments of beauty’. In this cycle, which will be completed next year with the 9th Symphony, Yury Martynov extends this approach by letting us hear both Beethoven’s works and Liszt’s view of them.
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Debussy - Pierné - Saint-Saëns - Poulenc Milhaud…
ZZT 358
French Music for clarinet & piano Jos van Immerseel, piano (Carl Bechstein, Berlin, 1870) Lisa Shklyaver, clarinet (Dolnet Lefevre & Pigis, Paris, ca.1930)
Release 02/2
015
The desire to come as close as possible to the sound aesthetic of composers at the time of the first performance of their works, along with the simple pleasure of the sound of period instruments, guide Jos van Immerseel in his approach. For this recording, offering a panorama of French music for clarinet and piano from the early 20th century, Jos Van Immerseel has chosen a Bechstein piano of 1870, and Lisa Schklyaver, a Dolnet Lefevre & Pigis clarinet from 1930. The recording is doubly precious in that it proposes both the view of one of the finest performers of French music on a variety of remarkable works as well as, in a way, the sonority and poetry of an era. Jos van Immerseel’s 70th birthday album!
ok
ZZT 357
2 CDs + Bo
François 1er, Musiques d’un Règne Messe pour le Camp Du Drap d’Or / La Chambre du Roy Doulce Mémoire Denis Raisin Dadre, conductor
Release 03/2
015
2015 marks the 500th anniversary of the coronation of Francis I and of the famous battle of Marignan. To give particular resonance to these major events, Denis Raisin Dadre and Doulce Mémoire have chosen to bring together, in a disc-book, two complementary aspects of music at the time of Francis I. On the one hand, a Mass such as it might have been played at the Field of the Cloth of Gold, a political and diplomatic meeting between the King of France and Henry VIII, King of England, a Mass shared by the French and English Chapels; and on the other, music from the daily life of the King of France, ‘La Chambre du Roy’. This latter part of the project was, moreover, recorded at the Château de Chambord, a masterpiece from the reign of Francis I. In partnership with the Domaine de Chambord, Fontevraud Abbey, and the Centre and Nord Pas-de-Calais regions
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Luigi Boccherini
ZZT 360
Quartet & Sonatas Accademia Ottoboni Marco Ceccato, cello & conductor
This recording follows a first collaboration between Zig-Zag Territoires and Marco Ceccato (Vivaldi sonatas), widely hailed by the press. It is devoted to two important aspects of Luigi Bocherini’s work: chamber music and the cello, of which he was a great virtuoso.
015 Release 03/2
The two quintets and the divertimento feature the combination of the string quartet – of which Boccherini was, in a way, the co-founder with Haydn) –sometimes with the guitar, sometimes with the flute having place of honour, and always with a delightful use of those instruments’ sound capabilities. And, of course, the cello is then to the fore in the Concerto in G major, a summary of virtuosity and lyricism.
Ives - Berg - Webern
ZZT 362
Pièces pour piano Alexei Lubimov, piano
Alexei Lubimov is a very great pianist and an authentically eclectic musician. Close to the music of today – he has played and recorded works by many contemporary composers and founded the Alternativa festival in Moscow –, he is also impassioned by early instruments and Baroque music, as well as by all the music in between.
015 Release 04/2
This new recording stages the encounter of music of the Second Vienna School with that of the American Charles Ives. And this time, Alexei Lubimov has chosen to play on a modern instrument…
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Béla Bartók
ZZT 363
Concerto pour violon n° 2 Concerto pour orchestre Tedi Papavrami, violin Orchestre Philharmonique du Luxembourg Emmanuel Krivine, conductor
Release 04/2
015
After two first recordings released by Zig-Zag Territoires and devoted to Ravel, Mussorgsky and Rimsky-Korsakov, Emmanuel Krivine and the Luxembourg Philharmonic Orchestra devote this CD to two emblematic works from the end of Bartók’s life: the Violin Concerto No.2, first performed in 1939, and the Concerto for Orchestra, premiered in 1944. These are absolutely major works both in Bartók’s catalogue and from this period in the history of music, and are, moreover, close to the universe of Emmanuel Krivine. For the Violin Concerto, it is Tedi Papavrami who was invited by both the Orchestra and by Zig-Zag Territoires. Let us recall the astonishing recording that Tedi Papavrami recently made of Eugène Ysaÿe’s complete violin sonatas for this label.
Felix Mendelssohn - J.S. Bach
ZZT 364
Trios Jack Liebeck, violin Christian-Pierre La Marca, cello Amandine Savary, piano
This recording is the first to be made by Trio Dali with its new violinist, Jack Liebeck. After a Ravel programme in 2009, then a Schubert disc, the Trio turns its talents to the two Mendelssohn trios and transcriptions of Bach.
015 Release 05/2
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The Trio Dali has thus chosen to contrast Mendelssohn’s two trios with works by a composer for whose rediscovery Mendelssohn was largely responsible in his time: Johann Sebastian Bach. Thus, the Trio Dali proposes a recording that is a sort mirroring of Mendelssohn and Bach.
Coup Fatal
OUT 656
Fabrizio Cassol Serge Kakudji Rodriguez Vangama
Release 01/2
015
Coup Fatal (Fatal Blow) is an original encounter between Baroque music and Congolese music. This extraordinary project is organized round Fabrizio Cassol (musical director), Serge Kakudji (countertenor) and Rodriguez Vangama (conductor and guitarist) who, for several years now, have been elaborating a ‘Baroque recital’ the likes of which you have never heard. Live, the show is staged and choreographed by Alain Platel, who leads the company of 13 musicians very far into a universe where songs, traditional African instruments and dances are one. Baroque ‘hits’ mix with folk music in a new exploration of the repertoire that puts a amazing common dimension between the two universes as an epigraph. The show was first given at the legendary Burgtheater of Vienna in June 2014 and was a headliner at the Avignon Festival this past summer. A tour, spanning several years with visits to numerous countries, is now scheduled and will include the Théâtre Chaillot (Paris) in 2015.
2 CDs OUT 657
Aka Balkan Moon - Aka Moon AlefBa ‘Aka Balkan Moon’ and ‘Aka Moon AlefBa’ are two projects, the core of which is Aka Moon, that essential jazz trio (Fabrizio Cassol : sax, Stéphane Galland : drums, Michel Hatzigeorgiou : bass). Their refreshing approach to jazz and to ethnic musical genres such as funk and rock gives the trio a highly distinctive sound. In their richly filled career they have worked with dozens of artists from different backgrounds in numerous projects.
015 Release 05/2
The Aka Balkan Moon project draws its inspiration from the gypsy tradition of the Balkans. Assisted by violinist Tcha Limberger and Italian pianist Fabian Fiorini, the trio went in search of musical fellow travellers and found four virtuoso Bulgarian musicians. The result is a unique blend between contemporary jazz and traditional folk music. The AlefBa project brings together 12 artists, half of them coming from Europe, the other half from Syria, Egypt and Lebanon, in order to create what could be called a Musical and Poetic Suite in Arabic Languages. But AlefBa is not solely a Mediterranean project; it also brings together ‘universal, unidentifiable souls’ at the crossroads of several origins, between gipsy, Transylvanian and Balkan cultures.
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