Fabio Biondi – Bach: Sonatas & Partitas (2021) [FLAC 24 bit, 88,2 kHz]

Fabio Biondi – Bach: Sonatas & Partitas (2021) [FLAC 24 bit, 88,2 kHz]

Newly signed to the naïve label, violinist Fabio Biondi, the celebrated founder and director of Europa Galante, here presents his interpretation of one of the major peaks of the solo violin repertoire: the Sonatas and Partitas of J. S. Bach. For many years a passionate devotee of this Holy Grail of violinists, and having performed many of the works individually in the course of his career, Fabio Biondi is now, at the age of sixty, using his maturely ripened art to record the complete set for the very first time: it is the culmination of long and patient study, as well as of a process of personal development. For years Biondi was intimidated by Bach’s writing for solo violin: so intimate, yet so universal, so close to the essence of things – which the music often expresses through silence and pure, untranslateable sound – and so technically demanding as well.

Fabio Biondi – Opera in musica, Carlo Monza Quartets (2022) [FLAC 24bit, 88,2 kHz]

Fabio Biondi – Opera in musica, Carlo Monza Quartets (2022) [FLAC 24bit, 88,2 kHz]

Fabio Biondi (born 15 March 1961) is an Italian violinist and conductor. He is a specialist in Baroque and early music.

Fabio Biondi, Europa Galante – Mendelssohn (2022) [FLAC 24 bit, 88,2 kHz]

Fabio Biondi, Europa Galante – Mendelssohn (2022) [FLAC 24 bit, 88,2 kHz]

Europa Galante has recorded Mendelssohn under Biondi’s direction! The program includes works written by Mendelssohn between the ages of 11 and 18.

Christian-Pierre La Marca – Haydn: Cello Concerto No. 1 (2022) [FLAC 24bit, 96 kHz]

Christian-Pierre La Marca – Haydn: Cello Concerto No. 1 (2022) [FLAC 24bit, 96 kHz]

French cellist Christian-Pierre La Marca was a fixture on the international concert and chamber music scenes even before signing to the Sony Classical label. He has cultivated expertise in both orchestral and chamber music, and in mainstream repertory and historical performance. La Marca was born in Nice in 1983. He took cello lessons in Aix-en-Provence and then moved to Paris. His teachers have largely been private ones: Jean-Marie Gamard and Philippe Muller in Paris, Frans Helmerson in Cologne, and Steven Isserlis in London, augmented by master classes with such figures as Mstislav Rostropovich and Heinrich Schiff.

Christian-Pierre La Marca – Wonderful World (2021) [FLAC 24bit, 96 kHz]

Christian-Pierre La Marca – Wonderful World (2021) [FLAC 24bit, 96 kHz]

In this humanistic ode de to nature, French cellist Christian-Pierre La Marca presents a packed programme on the theme of saving the planet. He has invited a host of artists from all over the international music scene to add their voices to that of his own eloquent instrument, in a unique and unprecedented project of solidarity. “Wonderful World” is a project of multiple inputs, all converging on Christian-Pierre La Marca’s awareness of the need to save our planet. As he explains, “music has the ability to awaken consciences, to make people more sensitive, without trying to convince or mobilize them. Music is a short circuit that goes straight to the heart”.

Grigory Sokolov – Chopin: 24 Preludes, Op. 28 (2013) [FLAC 24 bit, 44,1 kHz]

Grigory Sokolov – Chopin: 24 Preludes, Op. 28 (2013) [FLAC 24 bit, 44,1 kHz]

Grigory Sokolov: a living legend of the piano whose public performances and recordings are as rare as the man is secretive. He stepped away from the limelight years ago, refusing to be idolised by a society avid for imagery. Under the winged fingers of the giant you hear the vibrancy of an inner song, wordless but not illegible. June 7 1990: concert and recording of Chopin’s Preludes by Grigory Sokolov, still relatively unknown in France.

The record receives high praise from the critics.

Christian-Pierre La Marca – Legacy (2023) [FLAC 24 bit, 96 kHz]

Christian-Pierre La Marca – Legacy (2023) [FLAC 24 bit, 96 kHz]

The cellist Christian-Pierre La Marca always has something to surprise us with: hybrid programs mixing genres and pushing toward musical frontiers, guests who add to an already rich repertoire, and a keen, passionate vision of both music and the world. The title and the composers of his new album may appear “classical”, but his recording, effectively rooted in eighteenth century Vienna, nevertheless once again broadens the horizons and encourages us to see things differently. “I wanted this program to introduce new ways of listening to Haydn’s concertos,” he explains. “Legacy focuses on passing down rather than inheriting – the benevolence of one generation for the next, encounters between musicians who are also enablers, the progression of the instrument in the music.”

Antoine Tamestit – Bach: Cello Suites Nos. 1, 3 & 5 (arr. for viola) (2012) [FLAC 24bit, 44,1 kHz]

Antoine Tamestit – Bach: Cello Suites Nos. 1, 3 & 5 (arr. for viola) (2012) [FLAC 24bit, 44,1 kHz]

As a child, Antoine Tamestit studied the violin, but at age 10, he fell in love with the six unaccompanied Cello Suites of J.S. Bach and immediately wanted to switch to the cello. His teacher advised him that playing that instrument would involve learning a completely new technique, so he was allowed to switch instead to the viola. Thus, Tamestit was able to play the suites as arranged for his present instrument, and because the viola has the tuning of C-G-D-A, Bach’s originals have been transposed up an octave. This 2012 recording of three of the suites, BWV 1007, 1009, and 1011, is presumably the first of two discs, creating anticipation for disc two, for Tamestit’s interpretations are outstanding and promise to make the complete set required listening. He has been acclaimed as one of the finest violists in the world, and his lively tempos and light articulation reveal his profound understanding of the music. The dance impulse is ever-present in these suites, which have a greater ease of movement and flow at the higher transposition. Additionally, Tamestit plays the Stradivarius “Mahler” viola from 1672 with a modern Baroque-style bow, which gives his performances a period sound that is often absent from cello interpretations. And while there is no attested version for viola from Bach’s hand, his predilection for arranging his works for various instruments makes these transcriptions utterly appropriate. Naïve’s recording is clean and vibrant with natural presence, so Tamestit’s playing is heard to best advantage.

Arianna Vendittelli, Andrea Buccarella, Abchordis Ensemble – Vivaldi, Cantate per soprano I (2021) [FLAC 24bit, 88,2 kHz]

Arianna Vendittelli, Andrea Buccarella, Abchordis Ensemble – Vivaldi, Cantate per soprano I (2021) [FLAC 24bit, 88,2 kHz]

This new recording in the Edition Vivaldi series – the first of two volumes dedicated to Vivaldi’s “cantate da camera” for soprano – displays the energetic vitality with which a new generation of artists in their thirties is encountering the baroque repertoire. This sixty-eighth album of the Edition highlights the expressively powerful voice of the soloist, soprano Arianna Vendittelli, already heard in the operas Il Tamerlano (2020) and Il Giustino (2018) conducted by Ottavio Dantone, as well as the artistic vision and high standards of the harpsichordist, organist and conductor Andrea Buccarella, who in 2018 carried off the first prize at the Bruges International Early Music Competition with his Abchordis Ensemble.

Anne Gastinel, Claire Désert – Chopin (2021) [FLAC 24bit, 96 kHz]

Anne Gastinel, Claire Désert – Chopin (2021) [FLAC 24bit, 96 kHz]

Other than the piano, there were few instruments on which Chopin focused his attention, which makes this album featuring cellist Anne Gastinel something of a rarity. Their united voice – as always, remote from the chorus of the mundane and the media-fixated – is a subtle, inspired cantilena. For here it is all about the singing voice that Chopin declared to be his model, overtly influenced as he was by Italian bel canto opera. Anne Gastinel savours every moment, not only with the sense of refinement she shares with the greatest singers, but with a palpable musical breathing, sensitively illuminated at the piano by Claire Désert, an accompanist in the very noblest tradition.

Andrea Buccarella, Abchordis Ensemble – Antonio Vivaldi: Serenata a tre (2023) [FLAC 24 bit, 96 kHz]

Andrea Buccarella, Abchordis Ensemble – Antonio Vivaldi: Serenata a tre (2023) [FLAC 24 bit, 96 kHz]

Volume 70 of the Vivaldi Edition revives a serenade by the “Red Priest” led with brio by Andrea Buccarella, his Abchordis Ensemble and a triad of vibrant soloists. In spite of the warning from her friend Nice, the nymph Eurilla is in love with the shepherd Alcindo, and, to punish him for his lack of enthusiasm, tries to trick him into loving her. The story is simple, the trio of characters borrowed from Arcadia and the playful tone, as befits this type of open-air cantata composed for political, dynastic or private celebrations. The Serenata a tre RV 690, under Vivaldi’s pen, nevertheless possesses all the qualities of an exquisitely polished miniature opera that is also light-hearted. Only three manuscripts have reached us today of the eight serenades we know Vivaldi composed. The Serenata a tre, preserved in the Turin library, the source used by the Vivaldi Edition for it’s publications, fired the enthusiasm of the conductor and harpsichordist Andrea Buccarella and a larger than usual Abchordis Ensemble.