La partition (manuscrit d'Uppsala, 1667) que viennent de restituer Martin Gester et son frère le musicologue Jean-Luc Gester est de tout premier ordre. On ne sait qui l'a écrite, mais celui qui le fit est un grand assurément. Climat sensuel et doloriste, beauté de l'écriture, raffinement de l'expression. Les solistes vocaux groupés autour de Gester sont épatants, chantant comme un madrigal spirituel cette passion de chambre.
This album aims to reveal or remind of the unique beauty of Robert Schumann's late compositions, characterized by an evolving writing style and a musical discourse rich in emotions and history. The alleged madness of Schumann should not be simplistically attributed to his music or his creative genius. On the contrary, this aspect adds a unique depth to his work.
On this 2009 CD, the scholar-pianist Paul Badura-Skoda (b. 1927) offers an inspired performance of Haydn's keyboard music. Badura-Skoda plays his own rare fortepiano dating from around 1790 built by a maker, Johann Schantz, whom Haydn praised highly. The instrument has a lighter, clearer tone than the contemporary piano. It is bell-like and somewhat dry with a detached sound. In these performances, Badura-Skoda plays with a light, quick touch with sparing use of the pedal and less emphasis on legato playing than would be offered in more contemporary readings. He also plays with a great deal of musicality and passion.
Set of Fremeaux’s definitive Integrale Django Reinhardt collection. Mastered by Daniel Nevers, there are 20 volumes of these, and each volume has 2 CDs – 40 CDs total. Each volume also comes with a fairly thick booklet with discography and notes. And the booklets and inserts have very nice B&W pictures of Django. Une réédition d’exception ! Depuis quelques années maintenant, les éditions Frémeaux ont entrepris la publication d’une intégrale des enregistrements de Django Reinhardt.
This 101 track, 4 CD survey reveals the importance of the contribution the accordion made to the history of jazz. Distinguished jazz artists such as George Shearing, Harry James and Bennie Moten either played or included an accordion player in their orchestras.