![Alexis Kossenko – Walckiers l’iconoclaste. Chamber Works (2023) [FLAC 24 bit, 96 kHz]](https://imghd.xyz/images/2023/02/19/l7gtm0fhs3mka_600.md.jpg)
Alexis Kossenko – Walckiers l’iconoclaste. Chamber Works (2023) [FLAC 24 bit, 96 kHz]
Unjustly forgotten, Eugène Walckiers left some extraordinary chamber music: works that are amazingly theatrical and lyrical, and constantly full of humor. Behind hints of Beethoven, Rossini, Berlioz or Mendelssohn, with a touch of folk music here and there, we perceive the mischievous personality of an unclassifiable, iconoclastic and irresistible composer. Alexis Kossenko and a group of exceptional soloists revive these treasures, for the most part recorded here for the first time, with relish and enthusiasm.
![Alexis Kossenko, Anna Reinhold, Emmanuel Olivier – Soir Païen (2020) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/06/08/wueuocagfvpdb_600.md.jpg)
Alexis Kossenko, Anna Reinhold, Emmanuel Olivier – Soir Païen (2020) [FLAC 24bit, 96 kHz]
Flautist Alexis Kossenko’s latest offering is evocative, impressionistic: a programme in which flute, piano and voice together have pride of place.
In the company of Anna Reinhold, Sabine Devieilhe, Magali Mosnier and Emmanuel Olivier, Alexis Kossenko blends melodie and chamber music through a fascinating programme that explores the various influences of French music in the early Twentieth Century.
From Ancient Greece (with Maurice Emmanuel’s Odelettes anacréontiques or Debussy’s very famous Syrinx) to the Orient, with Jacques Ibert and Maurice Ravel (Asie), the musicians deploy a great colour palette, to the image of Monet or Renoir’s vivid paintings. The result is a fine picture of French music at the time of Debussy.
![Alexis Kossenko, Les Ambassadeurs – Tartini, Vivaldi & Sammartini: Soave e virtuoso (2017) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/06/08/3149028009217_600.md.jpg)
Alexis Kossenko, Les Ambassadeurs – Tartini, Vivaldi & Sammartini: Soave e virtuoso (2017) [FLAC 24bit, 96 kHz]
For his new album Soave e virtuoso, Alexis Kossenko went on the trail of rare scores from the baroque era. Partitions that remind us that the Italian repertory, if it gives pride of place to the the violin and the voice, nevertheless doesn’t forget wind instruments. At the head of his ensemble Les Ambassadeurs, the conductor and flutist Alexis Kossenko performs delightly concertos by Tartini, Vivaldi and Sammartini. Sometimes voluptuous, sometimes dreadfully acrobatic, these scores require technique and sensitivity from the soloist. With a jubilant virtuosity, at the service of expressiveness, Alexis Kossenko, multi-skilled musician as at ease with flute as with recorder, brings life in colors to the works of the three Italian composers.
![Alexandra Conunova – Vivaldi: Le Quattro Stagioni (2020) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/06/08/gwytu031nuywc_600.md.jpg)
Alexandra Conunova – Vivaldi: Le Quattro Stagioni (2020) [FLAC 24bit, 96 kHz]
Vivaldi put the whole force of nature into this music, one of the most performed around the world, uniting us in our human condition. Alexandra Conunova gathers a chamber orchestra to share a thrilling version of this work, celebrating the joy of playing together again.
![Alexandra Conunova, Michail Lifits – Prokofiev: Violin and Piano Sonatas (2018) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/06/08/nfb305uukk0gc_600.md.jpg)
Alexandra Conunova, Michail Lifits – Prokofiev: Violin and Piano Sonatas (2018) [FLAC 24bit, 96 kHz]
From shadow to light, this is the emotional curve of Sergei Prokofiev’s Sonatas for violin and piano, published in the 1940s. this was an intense period of creation for the Russian musician who was also working on his ballet Cinderella and his Fifth Symphony.
The violinist Alexandra Conunova, winner of the prestigious Tchaikovsky competition in 2015, and the pianist Michael Lifits are engaged in reading these two Prokofiev scores. A true synthesis of his style, these sonatas are characterized by a formal classicism subverted by a flamboyant virtuosity. Their lyricism, gnawed by the tasty and biting irony of a modern language, fruit of a critical vision of the world, is all the more poignant.
![Aleksandra Kurzak, Yuuki Wong, Tomasz Wabnic, Morphing Chamber Orchestra – Mozart Concertante (2021) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/06/08/i6aw5y5o4r3oc_600.md.jpg)
Aleksandra Kurzak, Yuuki Wong, Tomasz Wabnic, Morphing Chamber Orchestra – Mozart Concertante (2021) [FLAC 24bit, 96 kHz]
The Polish soprano Aleksandra Kurzak needs no introduction. After having dazzled the opera stage and the discographic world both in duets and solo, she has devoted the whole of her new recording to Mozart. From The Magic Flute to Zaide, Mitridate and La Clemenza di Tito, the soprano embraces with equal talent the most famous arias of the master of Salzburg… and the verve of her concert presence. Far from limiting herself to just the lyrical attractiveness, she reveals its depth and brilliance by exploring the richness of the dialogue between voice and instruments: the brilliant musicians of the Morphing Chamber Orchestra of Vienna and Aleksandra Kurzak answer to each other, imitate and seek out each other. With them the arias of Mozart become the setting for a theatrical performance that is intimate, droll, and incredibly lively, in which the instruments have their own role to play in the unfolding drama. As an echo to this is added the Sinfonia concertante, for violin, viola and orchestra, one of the composer’s masterpieces in the genre, featuring the international soloists Yuuki Wong and Tomasz Wabnic.
![Sandrine Chatron – A British Promenade (2017) [FLAC 24bit, 96 kHz]](https://imghd.xyz/images/2022/05/29/y7ig2u09ystsb_600.md.jpg)
Sandrine Chatron – A British Promenade (2017) [FLAC 24bit, 96 kHz]
Comme le titre de son nouveau disque « A British Promenade » l’indique, la harpiste Sandrine Chatron nous propose une déambulation musicale dans l’Angleterre du début du xxe siècle. On y croise des compositeurs rares au disque, comme Herbert Howells ou Cyril Scott, mais aussi Benjamin Britten. Les pages qu’ils composèrent pour la harpe nous transportent dans les paysages côtiers ou plus champêtres de nos voisins anglais. Leurs évocations sont également déclinées par la chaleur du violoncelle d’Ophélie Gaillard et le lyrisme du ténor Michael Bennett qui viennent enrichir la palette sonore de l’époque en faisant contrepoint à l’expression plus pointilliste de la harpe.