How to celebrate the 25th anniversary of the ensemble La Pietà? The answer came naturally to Angèle Dubeau: through music! For the occasion, she proposed an album entirely conceived, performed, and composed by women. The result is an album filled with the joy of exchanging through the medium of creation with the women composers gathered here. This album witnesses Angèle Dubeau's virtuosity and confirms her immense talent for creating programs that are off the beaten path, while being as innovative as they are accessible.

REVIEW:

This Canadian group, led by Dubeau, always delivers the goods, with accessible and wide-ranging programmes. Marking 25 years, Elle brings together works by women composers both familiar and unsung, from Hildegard to Isobel Waller-Bridge. Very fine playing.

-- BBC Music Magazine

Following her passion for seeking out rare musical gems, Angèle Dubeau presents Portrait: Alex Baranowski, the 6th opus in her series of albums dedicated to contemporary composers, which began in 2008 with Portrait: Philip Glass. A successful young composer based in London, multiple award winner and graduate of Paul McCartney's LIPA, Alex Baranowski offers beautiful and generous music, rich in sound atmospheres. Under the breathtaking interpretations of Angèle Dubeau and her remarkable ensemble, La Pietà, these works reveals wonderfully expressive and sensitive writing for the violin. The album includes several key works from Baranowski's repertoire as well as three previously unreleased pieces, including Wiosna, a commission that the composer describes as one of his most intimate works.

Montreal-based string nonet Collectif9 presents another innovative programme, featuring works by Hildegard von Bingen, Arvo Part, Michael Tippett, Nicole Lizee, Bryce Dessner, and Jocelyn Morlock. Rituaels is a new collection of music from the medieval to the modern era with a narrative - an artistic gesture - that recalls the human tradition of passing on knowledge and practices in culture and art. An element of continuity ties each work of music to the next, whether introduced as a drone or held note, a chord that imperceptibly transforms, or a group of continuously repeated notes. The earliest performances included dance and movement, an idea that influenced the interpretation and development of the programme that is revealed on this album.

Volume 11 of Mathieu Gaudet's complete Schubert piano sonatas cycle brings us the fascinating second book of Impromptus D. 935, including the immortal Theme and Variation in B flat major. The youthful Sonata no. 2 in C major D. 279 and the � Noble � Waltzes D. 969 round up this spectacular album, full of singing melodies, contrasting atmospheres and romantic drama.

For the tenth volume in his series of Schubert's Complete Sonatas and Major Works for Piano, Mathieu Gaudet turns to a work of unabashed Romanticism: Sonata No. 4 in A minor (D. 537), composed in 1817. Whilst the outer movements are highly dramatic in character, the central slow movement features a long and enchanting melody of an almost fragile delicacy. He returned to this melody eleven years later in 1828, using it as the theme of the last movement of the Sonata No. 19 in A major D. 959, his penultimate sonata. This Allegretto is perhaps the most "Schubertian" of all: it is generous, graceful, full of hope despite a weighty melancholy, and always in motion. Schubert's return to the melody that he had composed when he was twenty years old attests his particular love for it; it was his personal hymn, his secret melody.

Schubert composed his Sonata No. 4 in A minor (D. 537), a work of unabashed Romanticism, in 1817. Whilst the outer movements are highly dramatic in character, the central slow movement features a long and enchanting melody of an almost fragile delicacy. He returned to this melody eleven years later in 1828, using it as the theme of the last movement of the Sonata No. 19 in A major D. 959, his penultimate sonata. This Allegretto is perhaps the most "Schubertian" of all: it is generous, graceful, full of hope despite a weighty melancholy, and always in motion. Schubert’s return to the melody that he had composed when he was twenty years old attests his particular love for it; it was his personal hymn, his secret melody.

MARIEN, Robert: Broadway Montreal

Classical Music

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These performances were formerly available on Analketa 28714.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

ALLELUIA - Remember My Soul

TELEMANN: 12 Fantasias for Flute without Bass

PAX: Gregorian Chants on the Theme of Peace

Works For Solo Guitar

ROSSINI: Complete Sonatas for Strings

GREGOIRE: Musique de l'image (La)