15 Jérôme Noetinger

It was in 1774 that Joseph Haydn had his first set of solo keyboard sonatas published and that Mozart first tackled the genre. The five sonatas presented here all date from 1773-1783, a decade that saw the fortepiano swiftly become the preferred medium for a new style of keyboard writing, to the detriment of the harpsichord. All that remained was to find the instrument to speak this new language. The late Eighteenth Century German piano on which Jérôme Hantaï performs offers us a chance to hear a unique, expressive, cantabile voice.

'Capriccio' sees French violinist Renaud Capuçon, now in his early 30s, paying tribute to legendary violinists of the 20th century, including Kreisler, Heifetz, Milstein and Menuhin. This appetising selection of short pieces – virtuosic and lyrical, original compositions, transcriptions and arrangements – demonstrates the captivating charm the violin can exert.

Kenny Drew - The Complete Jerome Kern / Rodgers & Hart Songbooks (1957) {2008 Lone Hill Jazz Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 291 Mb | MP3 @320 -> 180 Mb
Full Artwork @ 300 dpi (png) -> 45 Mb | 5% repair rar
© 2008 Lone Hill Jazz | LHJ10343
Jazz / Hard Bop / Piano

This release compiles Kenny Drew’s complete Riverside 1957 duo & trio albums performing the LP songbooks of legendary composers Jerome Kern and Rodgers & Hart: “The Jerome Kern Songbook - I Love Jerome Kern” and “Pal Joey - Jazz Impressions of the Rodgers And Hart”. The former LP has never previously been released on CD. Full details inside in the 12-page comprehensive booklet.

Les Paladins has much experience with music of this kind. On the whole their performances are lively and mostly quite theatrical, but they have no problems with the more introverted pieces either… this is an enjoyable and recommedable recording which give some examples of the huge oeuvre Rossi and Marazzoli have left. There is still much to discover in this respect, and this disc can give some idea about the quality of their respective compositions.

A most famous composer in London at the time of Haendel and a great protagonist of the Ospedali musicali in Venice, Nicola Antonio Porpora (1686-1768) is nevertheless forgotten gloomily of our musical culture. To the rare discographic recordings dedicated to his music, we can add this one, conducted magnificently by Jérôme Correas. (…) Correas interpretation is sensitive, vivid and it stands like a mirror of Porpora's vocal vuirtuosity ; this exaggerated virtuosity is here a natural and vital component of the score, fostering an atmosphere of fervent mysticism (…) that arouse emotions.

Francesco Cavalli (1602-1676) was a worthy successor to Monteverdi on the Venetian musical scene, and while his operas may not sustain the level of exalted musical inspiration and psychological depth of Monteverdi's, they come close enough to fully deserve the recognition they are beginning to receive. Like Monteverdi, Cavalli was a master dramatist, and his operas bristle with theatrical energy and vivid musical characterizations. L'Ormindo (1644), the first of his operas to be rediscovered (by Raymond Leppard, who conducted it at Glyndebourne in 1967), was written just two years after L'incoronazione di Poppea, and shares some of its attributes, most notably a remarkably expressive use of recitative, intriguing characters, and a dramatically arresting intermingling of comic and serious elements.