Vernier

Blegen’s technically flawless and musically peerless rendition (Exsultate, jubilate) is a pure celebration of beautiful singing and of the wonder of Mozart’s dazzling masterpiece. The sound is as clear and immediate as if it had been recorded yesterday, and Pinchas Zukerman’s direction is exemplary. Not so exemplary is this version of the Mozart/Süssmayr Requiem, although it certainly is one of the sturdier and more durable performances on disc (and the quartet of soloists is unsurpassed).

Anonymous 4 - Lily & The Lamb: Chant & polyphony from medieval England
EAC+LOG+CUE | FLAC: 288 MB | Full Artwork: 53 MB | 5% Recovery Info
Label/Cat#: Harmonia Mundi # HMU 907125 | Country/Year: Europe 1995
Genre: Classical | Style: Medieval

"The singing is absolutely gorgeous. Not only do the 4 sound like angels; they phrase and inflect seraphically as well. You need go no further than the 'O Gloriosa Domina' Processional that starts the program to hear their clear, handsome, seemingly effortless unanimity in action…'Stond wel, moder, under roode' took my breath away." – American Record Guide

Antonio Vivaldi - La Cetra: 12 Violin Concertos
Rachel Podger / Holland Baroque Society
FLAC (tracks) 24 bit/96 kHz: 2,58 GB | Artwork | 5% Recovery Info
Label/Cat#: Channel Classics # - | Country/Year: Europe 2012
Genre: Classical | Style: Baroque, Violin | Source: Official Download

"When listening to this CD I turned the volume up just slightly past my normal listening level, and I was rewarded with a room-filling reproduction of what I’d heard in Amsterdam. "Uitstekend!" Highly recommended." ~ClassicsToday.com

Audrey Alwett est aujourd’hui autrice de nombreuses bandes dessinées (en particulier les séries à succès Le Grimoire d’Elfie ou encore Le Jardin des fées et Princesse Sara), mais aussi de nouvelles et romans (tels que la trilogie Magic Charly chez Gallimard jeunesse). Elle est également conteuse et a enseigné quelques années l’histoire de l’édition française à l’Université. …

In his introductory note to this CD, Itzhak Perlman informs us that, more than anything else he has recorded, this is truly his own music–"what you might hear if you came to my house and I decided to jam with some friends." And jam he does–with some very talented friends indeed. Klezmer music, which combines the folk and religious music of Yiddish-speaking cultures with various musical traditions of countries such as Russia, Turkey, and Greece, is unusual territory for a major label and a superstar artist, but here the combination works perfectly.

This fabulous recording featuring Matthew Best and the Corydon Singers was first released in 1989 at a time when they were recording the standard repertoire for small choirs for Hyperion, and this disc of Brahms' motets and shorter sacred choral pieces was, and is, one of their finest. From the smooth and lovely Ave Maria for women's choir and organ through their hard and harsh "Warum is das Licht gegeben?" to their craggy yet consoling "Wenn wir in höchsten Nöten sein," Best and his choir deliver technically impeccable and deeply moving performances. The Corydon Singers tend toward a big, lush, and slightly fruity sound, as is common with English choirs. But one cannot fault their diction, articulation, pronunciation or their tone, blend, and balance. Best's interpretations are soulful but not sentimental and expressive but not excessive. Recorded in full-bodied digital sound, these performances will likely please fans of Brahms' sacred choral music.

Standard repertoire doesn’t get any more “standard” than Bach’s concertos for violin in A minor and E major–and every violinist from minor to major has recorded them. Which means that there are about a zillion versions available, many of them first rate. Well, here’s another to add to the list, excellent performances in fine sound–sturdy, stylish, reliable, lustrous, with lively tempos and some nifty, well-integrated ornaments–all the components needed to confirm this as a worthy staple of any library. And for good measure, the program includes two concertos not usually presented as violin works but in their later incarnations as keyboard concertos.