Edouard Ferlet is a jazz pianist featuring a refined swing. His album Think Bach, a first incursion into the world of the Cantor, was a total success: from Télérama (ffff) to Jazz Magazine, everyone was charmed by his approach and the quality of his piano (‘incredibly well turned out and beautiful,’ wrote Stéphane Friédérich in Pianiste)... Unclassifiable and unpredictable, as he defines himself, the pianist-composer is in the habit of combining jazz with the most varied forms: classical music, theatre, filmscores, performances and musical readings with authors such as Nancy Huston...
In the continuity of the Think Bach project, Arièle Butaux provoked an unexpected duo on French radio, centred on Baroque music and improvisation, a magical, timeless face-to-face between Edouard Ferlet and harpsichordist Violaine Cochard. Considered one of the finest ambassadresses of her instrument and also a great lover of Bach, she recorded, on an exceptional instrument, an album that drew considerable attention. This disc is the result of that meeting of struck strings and plucked strings. Side by side, each at his or her own instrument, the two musicians carry on a dialogue about Bach’s music, between original text and improvisations…

很难相信吧！这是RCA公司1954年首次立体声录音，以当时充满实验性的录音器材竟能有如此惊人的录音效果，真要使现代录音师汗颜。这个录音提供非常清楚的乐器形体，敲击乐器不受限的自由动感表现。铜管组的吹嘴爆裂声也十分传神。弦乐有种冷色的光泽，使人在欢乐中有种清凉之感。RCA公司近来将50—60年代的压箱宝贝重新翻新，真是乐迷之福！

The fourth volume of the Haydn2032 project thrusts into the limelight one of the most important stock characters in the theatre of sounds and words, the Kapellmeister, and explores some glamorous and (in)glorious moments in the career of Maestro Haydn. It features three symphonies by the "Shakespeare of Music" - one of which is even associated with ana ctual play. This bears teh title "Sinfonia in C per la commedia intitolata il distratto" and consists of an overture, four entra'actes, and a finale to be played at the end of the performance. Also on this release is a large-scale buffalo scene by his colleague Cimarosa. Il maestro di cappella is a witty and ironic parody, in which a member of the "old school" of musicians tries to improve the ensemble playing of his orchestra. To his chagrin, the players do react, but in extremely undisciplined fashion: they are distracted, make false entries and disagree musically...

详细内容: WOLFGANG AMADEUS MOZART(1756-1791)1-3 Konzert für Klavier und OrchesterLUDWIG VAN BEETHOVEN(1770-1827)4-6 Konzert für Klavier und Orchester7 Rondo für Klavier und Orchester B-dur WoO 6major广告语: 莫扎特的第二十钢协是一首革命之作，最受浪漫乐派作曲家喜爱的，让十九世纪人视其为浪漫乐派的 先锋。作为二十世纪最伟大的钢琴家，李赫特对于钢琴协奏曲具有一种异乎寻常的感触，美妙而敏锐掌握 风格与表现性，充满活力，美感十足！李赫特的音乐是充满令人不可解的神秘气息和热情，他拥有超人般的精力和技巧，却总是只演奏乐谱中的要求，而又能常常看到其它音乐家所未能洞视的深度。所以他被称为与作曲家拥有同等深度了解乐曲力量的稀有钢琴家。李赫特的曲目极广，上自巴哈下自现代乐派无所不包。然而他最受迎的还是他的浪漫派钢琴音乐演奏。莫扎特钢琴协奏曲是李希特五○年代末期的录音，富有深刻思想的乐音与出色的钢琴演奏，表现出莫扎特作品中奇妙的美感。李赫特指下的莫扎特，严酸、且透漏一种强烈不屈的意志力，风味自是非比寻常。他的贝多芬则风格堂堂，在悠扬沉稳的步伐中，散发音乐的喜悦与执着。在六○年代初期录制的贝多芬第三号钢琴协奏曲里，李希特不但弹出作品的含蓄之美，末乐章也是火花四射，充满刺激感。

Suitte d'un Goût Étranger is a composition for bass viola da gamba and continuo by Marin Marais.
The Suite in a Strange Style was included in Marin Marais's Livre IV of pieces for viol and continuo, and which also included the pieces for three viols, which Marais referred to in the Avertissement as 'a completely new departure in France. The first suites in Livre IV are charming and simple and closely resemble Livre III, where Marais had endeavored to present pieces of an easy and accessible nature for the less proficient players. However, these suites are followed immediately by the Suitte d'un Goût Étranger, which is famous for its technical and musical demands.
Jordi Savall revisits the master work of Marin Marais and gives us the integral version of Marais' 4th book of pieces for the viol (1717)
"The essence of Marais: Jordi Savall completes a striking musical odyssey."
Gramophone - 03/2007

Disc: 1
01 Act 1: "Questo mar rosso"
02 Act 1: "Pensier profondo!"
03 Act 1: "Legna!"
04 Act 1: "Si può?"
05 Act 1: "Io resto"
06 Act 1: "Chi è la?"
07 Act 1: "Si sente meglio?"
08 Act 1: "Che gelida manina"
09 Act 1: "Sì. Mi chiamano Mimì"
10 Act 1: "O soave fanciulla"
11 Act 2: "Aranci, ninnoli! Caldi i marroni e"
12 Act 2: "Chi guardi?"
13 Act 2: "Viva Parpignol! Parpignol! Parpignol!"
14 Act 2: "Oh!... Essa!... Musetta!"
15 Act 2: "Quando men vo"
16 Act 2: "Chi l'ha richiesto?"

Disc: 2
01 Act 3: "Ohè là, le guardie! Aprite!"
02 Act 3: "Sa dirmi, scusi, qual'è l'osteria"
03 Act 3: "Mimì!"
04 Act 3: "Marcello. Finalmente!"
05 Act 3: "Mimì è una civetta"
06 Act 3: "Mimì è tanto malata!"
07 Act 3: "Donde lieta uscì al tuo grido"
08 Act 3: "Dunque è proprio finita!"
09 Act 4: "In un coupé?"
10 Act 4: "O Mimì, tu più non torni"
11 Act 4: "Si sgombrino le sale!"
12 Act 4: "C'è Mimì... c'è Mimì che mi segue"
13 Act 4: "Sono andati? Fingevo di dormire"
14 Act 4: "Che avvien?"

France’s leading young harpsichordist performs works by two masters of the French Baroque. No surprises there, perhaps … but the harpsichordist in question is Jean Rondeau and the album is called Vertigo. It conceives the harpsichord in vividly theatrical terms. Vertigo takes its name from a dramatic, rhapsodic piece by Joseph-Nicolas-Pancrace Royer, who, along with Jean-Philippe Rameau, forms the focus of this album. If Rameau (1683–1764) is the better-known composer today, especially admired for such operatic masterpieces as Hippolyte et Aricie and Platée, the younger Royer (1705–1755) was also a major figure in his time, rising to become master of music at the court of Louis XV. Both Rameau and Royer excelled in keyboard music and in works for the stage. As Jean Rondeau says: “These two illustrious composers battled for the top spot at the Opéra.” He describes them as “two magicians, two master architects, amongst the most wildly imaginative and brilliant of their era … Two composers who also tried to capture echoes of grand theatre with the palette offered by their keyboard.”
In November 2015, Rondeau was named Solo Classical Instrumentalist of the Year by the Académie Charles Cros when he received its Grand Prix, France’s most prestigious award for classical recordings. That was for his first Warner Classics album, Imagine, which he described as “an exploration of all the possibilities that lie in the music of Johann Sebastian Bach and in the harpsichord.” BBC Music Magazine clearly enjoyed the discovery, saying: “Rondeau is a natural communicator, unimpeded by the imperative to score academic points ... Make no mistake – this is an auspicious debut.”