Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

On this recording, acclaimed conductor Herv� Niquet fuses his Flemish Radio Choir and Brussels Philharmonic in a concentrated and intense performance, bringing out the expressive essence of Brahms' music which is at once grand and intimate.

On this generous last installment of their Schubert-Brahms pilgrimage, Pieter Wispelwey and Paolo Giacometti serve us three iconic sonatas, including a world premiere. In it's original hue of G Major, Brahms' first violin sonata op. 78 is more scintillating and transparent than the D-major cell adaptation, and much more enchanting in it's opening Vivace. Brahms' third violin sonata op. 108 fuses surprising ebullience with superior mastery of form, in an epic piece which is an undiluted kick in the groin when played on a cello. And thankfully, Pieter and Paolo revisit Schubert's Arpeggione, that gem of intimacy, fragility, frivolity and humbling, unattainable beauty. A fitting final, in all respects.

On this recording of boccherini's Arie da Concerto, the Belgian ensemble Capriola di Gioia defies the stubborn stereotyping of Boccherini as the gallant master of unsurpassable but insignificant melodies. Close listening to this marvellous music reveals a genius with a profound understanding of human psychology, and a rich harmonic palette to paint the smallest affective nuances. In these arias, Boccherini is rehabilitated as a true her of Handel, a worthy contemporary to Haydn, and an early precursor of the belcanto of Bellini. This album is a rare recording of vocal music by Bocchereini, who himself - at the time - was a neglected composer. This album rehabilitates Boccherini as a true heri of Handel, a worthy contemporary to Haydn, and an early precursor of the belcanto of Bellini.

For this release, Vlaams Radiokoor has collected, with the help of their audience, a few of the most beautiful works from the rich choral repertoire. The result is like an exhibition in which singers emerge from silence, painting with music, color upon color, tone upon tone. The color palette seems endless, and each painting tells a story, with abstract notes and sound. The spectrum of emotions is endless. The Vlaams Radiokoor was founded in 1937 by the Belgian National Radio Institute (NIR/INR). The history of the radio choir is inextricably linked with that of it's sister ensemble at the same broadcaster: the Great Symphony Orchestra (now the Brussels Philharmonic). Today, the Vlaams Radiokoor is a regular player on the European concert circuit. There is great interest in France, Italy and the Netherlands and the first bookings from the UK and Germany are coming in. Renowned ensembles such as Les Si�cles or the Royal Concertgebouw Orchestra Amsterdam are working with the choir.

An unusual, intriguing coupling of C.P.E. Bach's "original" Rococo, and the neo-classical ones by Tchaikovsky and Stravinsky. Pieter Wispelwey is equally at ease on the modern or period cello. His acute stylistic awareness, combined with a truly original interpretation and a phenomenal technical mastery, has won the hearts of critics and public alike in a wide-ranging repertoire. Wispelwey plays a 1760 Giovanni Battista Guadagnini cello.

Albums rarely contain both chamber works and choral music, but in the case of composer Felix Mendelssohn, the juxtaposition is justified. For which is the more Bach-inspired? The a cappella works which breathe Bach into every note, or the Piano Trio no. 2 with the choral Herr Gott dich loben wir, which also motors Bach’s cantata 130? On this new release, an exceptional trio featuring violinist Pekka Kuusisto, cellist Pieter Wispelwey, and pianist Alasdair Beatson, as well as the acclaimed Flemish Radio Choir and conductor Herve Niquet, bring homage to the composer who gave second life to Bach, and grace and poetry to the romantics. The Vlaams Radio Koor (Flemish Radio Choir) was founded in 1937 by the Belgian public broadcaster of the day. Today it has become a choir of exceptionally high quality that counts both domestically and internationally among the top ensembles. The 24 professional singers rehearse under the baton of chief conductor Hervé Niquet in Studio 1 of the well-known Flagey building in Brussels, and perform throughout Flanders and Europe.

The summer of 1886 was one of the most prolific in the life of Johannes Brahms. The alpine grandeur of Lake Thun and Brahms’ buoyant holiday mood conjured up so many melodies that he declared he was “afraid to step on them.” In a few weeks’ time, Brahms produced two of his major chamber works, the Cello Sonata op. 99 and the Violin Sonata op. 100, that suits the cello delightfully. These chamber icons are aptly coupled to Schubert’s blissfully uplifting Sonata D 574. Wispelwey and Giacometti have been called “exceptionally imaginative and impassioned performers” (American Record Guide), and their collaboration has spawned recordings rated as “fascinating, provocative, almost perverse” (Sunday Times). The first installment of the Duo Pilgrimage was hailed a “successful launch” (Kulturradio) on account of the “unspoken complicity between two virtuosi… who accomplish a sparkling, playful, cantabile account.” (Cobra.be)

Classical Music

On his second release for Evil Penguin, Belgian piano prodigy Julien Libeer teams up with the new ensemble Les M�tamorphoses to contrast authentic and neo guises of 18th century music. The true classicists are featured on this album with unusually restrained work: Haydn's Passion Symphony no. 49 is broodingly solemn, Mozart's last piano concerto no. 27 deceptively intimate. These repertoire icons are coupled with Dino Lipatti's crystalline Concertino in the Classical Style (1936), which sheds neo-classical light on the vintage idiom. Libeer's fusion of older and newer worlds is not limited to the programme of this release. Although Les M�tamorphoses typically play on modern instruments (albeit with the greatest possible respect for the respective sonorities of different eras), they engaged natural horns and wooden transverse flutes for period color and crisp. The solo piano also represents the best of both worlds: the Concert grand with parallel strings (which Chris Maene originally built for Daniel Barenboim) combines pianoforte possibilities - clearly distinguishable voices and color across registers - with the technical advantages and playing comfort of a modern Steinway.

More than any other instrument, the clarinet is a medium for personal dedication to specific virtuosi. Mozart created his clarinet concerto for Anton Stadler, while Max Bruch dedicated his (double) concerto to his son Max Felix. Belgian virtuoso Roeland Hendrikx also plays Gerald Finzi's clarinet concerto, to which he has front row access via his teacher Thea King, doyenne of British clarinetists and spouse of Frederick Thurston, who premiered the Finzi concerto in 1949. Teaming up with the London Philharmonic Orchestra, Hendrikx pays homage to a genre - the clarinet concerto - it's gems, and it's genius performers. Roeland Hendrikx is one of the leading clarinetists in Belgium. He appeared as a soloist with the Belgian National Orchestra, The Flemish Symphony Orchestra, I Fiamminghi, the Beethoven Academy, the Flemish Radio Orchestra, The Limburg Symphonic Orchestra, the Georgia Philharmonic, the Symphonic Orchestra of Lithuania and the Philharmonic Orchestra of Hagen. Roeland is teaching clarinet at the Maastricht Conservatory (The Netherlands) and the LUCA School of Arts in Leuven (Belgium).

First time collaboration between the Zemlinsky Quartet and Paolo Giacometti. A must for anyone interested in the great tradition of Mitteleuropa chamber music. A unique coupling of two beautiful works rarely recorded and underrated by discography. The two Quintets were composed within a ten year span (1904-1914), a period of fantastic musical flourishing. Zemlinsky Quartet belongs to the glorious�tradition of Centre-European string quartets, characterized by nobility and spontaneity�of expression, flawless technique, lack of mannersisms, profound�and humble insight of the score.

The performance is inspired by a significant historical moment, where Beethoven played the"Eroica" Symphony on his Erard Frères piano, evoking the idea of a musical experience so powerful that "Heaven and Earth must shake." Luca Montebugnoli has created a brand-new arrangement of this iconic symphony, tailored for a replica of Beethoven's Erard piano. This unique arrangement offers a fresh perspective on a classical masterpiece.The event contributes to the revival of the often overlooked art of piano arrangement. It showcases the skill of adapting orchestral works for solo piano performance, breathing new life into this artistic tradition.

Classical Music

Dionysos Now! Contributes to the preservation of cultural heritage by presenting musical works that have not been widely heard or performed for centuries.�ore Tom Denys, the artistic leader of the ensemble, has done a�scholarly exploration of the compositions that pay tribute to Adriaen Willaert to creatate this collection of musical pieces.

Can a composer like Alexander Scriabin be associated with any tradition at all, given the uniqueness of his musical language? Initially focusing on piano compositions, Scriabin later expanded to larger orchestral works, crafting five symphonies between 1899 and 1910. A noticeable evolution in composition unfolds, transitioning from a late Romantic style to a more modernistic approach. Evolving from late Romanticism to modernism, Scriabin drew inspiration from symbolist poetry and philosophical figures. Envisioning himself as a musical messiah to change the world, his Second Symphony provides a glimpse of this eccentric vision.

Following their debut album, The German Album, the ensemble presents the second album of the series: The Italian Album. Featuring a repertoire of baroque compositions by Corelli, Vivaldi, Albinoni, and Galuppi, Verità invites listeners on a captivating journey through time. The tracks on this album were recorded in four different baroque castles. This baroque repertoire is played on historical instruments and recorded in halls for which is was originally composed for. Creating an authentic atmosphere.

American Record Guide: The one-on-a-part performances here are stunningly beautiful. Dionysos Now is clearly a first-class male-voice a cappella ensemble with excellent vocal blend and coherent delivery. The ensemble includes 2 basses and a bass-baritone. This combination adds a sumptuous gravity to the words of Jesus and to the 6-part crowd choruses.

BBC Music Magazine: Roth sustains his flawlessly smooth, luxurously toned sonority, so that each movement emerges in terms of its majestic formal perfection. The Strad: This is a fundamentally lyrical account, imbued with grace and beauty. Pizzicato Supersonic: The great realization of this CD by the technicians and the carefully edited booklet complete this outstanding recording. Just listen and enjoy.

Raphaël Feye and the Karski Quartet have collaborated on an exhilarating new album, paying a tribute to Luigi Boccherini's string quintets. These selected quintets showcase the composers exceptional ability to craft melodies that are both elegant and emotionally resonant while maintaining a graceful interplay between the instruments. To enhance the recording's excitement, the musicians decided to vary the distribution of the parts, ensuring each piece possesses a unique and distinct character.

“This Scordatura Album is the second In Memoriam album in honour of my son Dorian. It features two illustrious masterpieces written for cello in alternative, darker tunings: the Bach Suite with the top string lowered by a whole tone and the Kodály Sonata with the two bottom strings lowered by a semitone. Both pieces are fierce, resilient and profound and although painted in dark colours, they comfort us with their show of sheer musical power and luminous inventiveness.” Stark statement of repertoire filled with personal significance and universal beauty. Unparalleled preformance of Kodály's sonata for cello solo. Pieter combines intense energy and emotional connection in his interpretation of the pieces.