L'unique Vinikour

Two-time Grammy Award-nominated harpsichordist Jory Vinikour plays historically groundbreaking works by François Couperin (1668–1733) on an album comprising three inventive Couperin suites — the composer called them “Ordres” — combining traditional French Baroque dance movements with witty and atmospheric character pieces — miniature tone poems for solo harpsichord. Highlights include the celebrated Les Baricades Mistérieuses from Ordre No. 6, which England’s The Guardian calls “shimmering, kaleidoscopic and seductive, a sonic trompe l’oeil.” The compelling Les Amusemens from Ordre No. 7 is irresistibly sweet and melancholic. Order No. 8 offers masterful examples of established forms, culminating with a dramatic Passacaille. Vinikour performs on a harpsichord created for him in 2012 by England’s Tony Chinnery, modeled after an instrument by the French builder Pascal Taskin (1723–1793). Its rich sound is ideally suited to 18th-century French repertoire.

Two-time Grammy Award-nominated harpsichordist Jory Vinikour joins the Chicago Philharmonic, “one of the country’s finest symphonic orchestras” (Chicago Tribune), and its artistic director Scott Speck in a program of 20th-century harpsichord concertos spanning more than six decades.

Violinist Rachel Barton Pine and harpsichordist Jory Vinikour, critically acclaimed artists of international renown- and also close friends-record together for the first time on this album of J.S. Bach's complete sonatas for violin and harpsichord. The artists approach these works as Bach intended: as trio sonatas with equally important roles for the violin and the harpsichord's treble and bass lines.

Stephen Schultz, called among the most flawless artists on the Baroque flute by the San Jose Mercury News, flute extraordinaire by the New Jersey Star-Ledger, and praised for performances of stunning warmth and agility by the Los Angeles Times, is joined by harpsichordist Jory Vinikour. Twice GRAMMY® nominated, and hailed as an authentic poet of the harpsichord by Denni Republik (Czech Republic), his performances have received raves in Gramophone and elsewhere. The four sonatas recorded here belong to a type of chamber music that was at the cutting edge of developments during the 1720s and 1730s: the duo for melody instrument and obbligato harpsichord.

Presenting four masterworks for harpsichord by Johann Sebastian Bach, Jory Vinikour performs on a harpsichord modeled after German harpsichords of Bachs time, notably Silbermann. Speaking with richness and clarity, this harpsichord was built by Tom and Barbara Wolf.

Acclaimed, multiple Grammy-nominated harpsichordist Jory Vinikour partners with renowned conductor Scott Speck and the award-winning Chicago Philharmonic for an exciting program of modern harpsichord concertos. Featuring the premiere recording of American composer Ned Rorem’s neoclassical 1946 Concertino da Camera, the album also includes English composer Walter Leigh’s charming, brief Concertino for Harpsichord and Strings, Czech composer Viktor Kalabis’s substantial, tour de force Harpsichord Concerto, and contemporary composer Michael Nyman’s wild Concerto for Amplified Harpsichord and Strings — a real sonic blockbuster.

Presenting four masterworks for harpsichord by Johann Sebastian Bach, Jory Vinikour performs on a harpsichord modeled after German harpsichords of Bachs time, notably Silbermann. Speaking with richness and clarity, this harpsichord was built by Tom and Barbara Wolf. The Italian Concerto and the French Overture, both published by Bach in the 2nd volume of his Clavier Übung, are paired with two other great works - the Chromatic Fantasy and Fugue, as well as the concerto-like Prelude and Fugue in a minor. Two-time GRAMMY Award nominated harpsichordist Jory Vinikour is recognized as one of the outstanding musicians of his generation. A highly diversified career brings him to the worlds most important festivals and concert halls as recital and concerto soloist, and partner to several of todays finest artists. Born in Chicago, Jory Vinikour studied in Paris with Huguette Dreyfus and Kenneth Gilbert on a Fulbright scholarship. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the publics attention, and he has since appeared in festivals and concert series throughout much of the world. In 2019, Jory made his debut at the Ravinia Festival, playing Bachs Goldberg Variations. At the Aspen Festival, he conducted Bachs six Brandenburg Concertos.

This is the fifth instalment of DG’s series of seven Mozart operas conducted by Yannick Nézet-Séguin, and initiated by Rolando Villazón, in collaboration with Festspielhaus Baden Baden and with the generous support of ROLEX For La Clemenza di Tito, Mozart’s last opera about the benevolent Emperor Titus who pardons an attempt on his own life, Rolando and Yannick – new music director of the MET – are joined by outstanding partners: A stellar cast in every role and specialist handpicked orchestra playing at their best in the stunning venue of Festspielhaus Baden-Baden Rolando adds yet another intriguing Mozart role to his already large discography. This time it is his role debut as Tito, reinforcing again his love for Mozart: “No composer has spoken to as directly as Mozart. I feel like I have a soul mate in him.”

Composed during his Italian stay at the beginning of the 18th century, Handel’s cantatas, interpreted by the soprano Anna Kasyan, draw a nuanced picture of opera heroin’s heart. At this time, women were not often allowed to appear in front of an audience. However, the Italian prima donna Margherita Durastanti, one of the few professional female singers of the period, delighted listeners with her brilliant interpretations of Handel’s cantatas.