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Morgen | Richard Strauss (Ref.: CYP1676)
Sébastien Walnier (cello) and Alexander Gurning (piano) A classical cellist, soloist of the Orchestre Symphonique de La Monnaie, committed to chamber music, jazz/rock and folk/fiddle meets an eclectic pianist well versed in Bach, Chopin, Franck and Corigliano, as in jazz and improvisation. Loco Motive Trio and Ô-Celli for the one, Soledad for the other and, until 2014, the Trio Talweg for both, founded in 2004 : Sébastien Walnier and Alexander Gurning have very serious fun in opening up the approaches to music, faithful to the style in which they perform, free to travel from one language to another. Between walking and awakening Walning explores genres with total complicity. Music is a way of accepting reality by expressing oneself without ambiguity of language. In an instant and in movement, it communicates the vibrations of an intimate, often chaotic world and orders it with sensitivity. The early works of Richard Strauss,his Sonata op.6 and the Romanze that followed it (1883) already reveal his harmonic mastery of the light that would blossom later in his orchestral pieces by breaking free of the words. This sure melodic instinct has encouraged us to perform three of his lieder composed between 1894 and 1899 without the words. These are not transcriptions or arrangements: the cello quite simply takes on the vocal part that is accompanied by the piano. This is a world premiere on disc. In Morgen however, we asked Lorenzo Gatto to perform the violin solo written for the original orchestral part. It is a one challenge for musicians to indicate the narrative expression of a lied without the text, even if we are not playing programme music. The pieces of Strauss lend themselves particularly to this by virtue of their clear structure and their implied narrative. In his day, he was quite out of step: he was not one of the ‘accursed composers’, the inheritors of the Viennese school that were leading their cultural revolution. On the contrary, like Rachmaninov or Mahler, he remained attached to a certain tradition, displaying a personal, quasi sculptural, even fantastical style. To be sure this approach did not find unanimous approval (read Debussy!), yet Strauss dealt very well with kitsch, ironically commenting on his adversaries’ “music of good taste”. Impossible to play it in an academic way! Strauss requires one to apply a touch of madness. For the recording we placed the microphones near each instrument for a closeness of sound at times discreetly similar to that of jazz. This music lends itself to such treatment quite naturally. Neither revolutionary nor conventional, it sets in motion our vision of the classical without ever betraying it.
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The Book of Lovers (Ref.: CYP1677)
The six musicians of Lâmekân ensemble, specialists in the Ottoman repertoire, invite masters of Turkish music to cross five centuries of vocal and instrumental classical ottoman music, for a recording in Istanbul.
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Études | Claude Debussy | Élodie Vignon (Ref.: CYP1678)
RELEASE 01/03/2018 - NOT AVAILABLE BEFORE 20/02/2018! FREEDOM WITHIN STUDY / MUSIC and POETRY / Creation and Re-Creation The pianist Élodie Vignon discovered and explored this perilous repertory of Debussy when she was still very young… She captured its poetic power, and she has never confused it with the vague and the approximate. She understood very early on that, for a pianist, Debussy’s last great cycle presented an inexhaustible reservoir of passion and rigour, of fire and precision, of work and relaxation. Her committed, precise interpretation, that keeps her ever in movement, ever in investigation, shows this, and she does not hide it, declaring that the Études never tire her and that, wherever she may be in the world, she feels at home when she plays them. The second part of the album counts twelve poems by the Belgian poet Lucien Noullez written for Élodie Vignon and her vision of the Études. Clara Inglese tell them above the echo of Élodie's music.
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The Ear of Theodoor van Loon (Ref.: CYP1679)
MUSIC IN ROME AND BRUSSELS IN THEODOOR VAN LOON’S ERA The series ‘L’Oreille de…’ from Cypres and the Huelgas Ensemble, that began with L’Oreille de Zurbarán (CYP1669) and L’héritage de Petrus Alamire (CYP1673), juxtaposes the music of a particular period and the creative world of a contemporaneous painter, scribe or explorer. What might he have listened to if he had had a transistor radio, a hifi system or the possibility of streaming on a computer? In conjunction with the exhibition: Theodoor van Loon, a Caravaggist Painter between Rome and Brussels | BOZAR, Brussels, 10/10/2018-13/01/2019, this album introduces the first Southern Netherlands Caravaggist between Rome and Brussels through the music of the seventeenth century. Paul Van Nevel has selected some emblematic pieces played in Italy , where van Loon used to live between 1602 and 1608, and in the musical chapel of Albert and Isabelle. /// With support from the Vlaamse Regering
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The Sunnyside of Ô-Celli (Ref.: CYP1680)
Eight solo cellists, all chamber musicians and concert artists, combine their energies and dreams in order to create an audacious and astonishing program, full of warmth and sensuality in the southern sun. Each arrangement is for them a challenge and a pleasure. Flamenco spirit, impressionist poetry or epicurean appetite, gentle grace and sentimental melody, melancholic tango or festive mambo… this album is a burning invitation to travel. /// Manuel de Falla (1876-1946)_ la vida breve / Joaquín Turina (1842-1949)_ danzas fantásticas : exaltación | ensueño | orgia / Emmanuel Chabrier (1841-1894)_ españa / Darius Milhaud (1892-1974)_ scaramouche : brazileira / Nino Rota (1911-1979)_ la strada / Heitor Villa-Lobos (1887-1959)_ melodia sentimental / Astor Piazzolla (1921-1992)_ fuga y misterio / Leonard Bernstein (1918-1990)_ west side story: mambo / Carlos Eleta Almarán (1918-2013)_ historia de un amor / Arturo Márquez (°1950)_ danzón n°2 / Freddy Mercury (1946-1991)_ bohemian rhapsody
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Légende arménienne | Akhtamar Quartet (Ref.: CYP1681)
The miniatures of Komitas have the merit of being able to condense in a few minutes all aspects of Armenian musical culture. Each of them is an invitation to travel, allowing us to discover the soul of a country through its music, both joyful and nostalgic. Thanks to his arrangements for string quartet, Serguey Aslamazyan gives these miniatures their nobility and amplifies their emotional impact without distorting the message they convey. This message of peace and hope is also the one that Eugénie Alécian wishes to transmit to us with Un quatuor arménien, a powerful work narrating a country that never stops dancing and singing despite the intense pain.
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Simone de Bonefont | Missa pro mortuis | Huelgas Ensemble (Ref.: CYP1682)
In perpetual search of unpublished works and forgotten composers, Paul Van Nevel invites us to discover a Requiem Mass for five voices, composed in 1556 by Simone de Bonefont, canon and cantor at Clermont-Ferrand Cathedral. The Missa pro mortuis can be considered as one of the highlights of polyphonic vocal style, encompassing all the characteristics of Franco-Flemish techniques of the period. The richness of de Bonefont’s polyphonic writing and his mastery of counterpoint are truly astonishing. True to form, the Huelgas Ensemble honours this unpublished score with a powerful interpretation, delivering music of incredible luminous tranquility. The programme also includes four compositions by Franco-Flemish masters - that de Bonefont may well have heard - on one of the most profound texts of the Gregorian repertoire: Media vita in mortesummus (In the midst of life we are in death).
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so Far so Close | Quatuor Alfama (Ref.: CYP1683)

COMMERCIAL RELEASE : FEBRUARY 24TH, 2023

After the success of their CD Still Schubert, the Alfama Quartet, in its new configuration, records a new album devoted to the exacerbated romanticism in the music of Mendelssohn and Schumann.

So Far so Close, this shout, this cry that ruptures sound-space. Far Fanny and Close Clara or the contrary. Two female names inseparable from the names of Mendelssohn and Schumann, united here in their melancholy hues and romantic exuberance like a long love letter highlighting the sorrow of separation. Patrick Leterme’s Quartet, solar, ethereal and choral, fuses the tessituras of the four members of the mysterious and subtle formation that is the string quartet.

The programme of the Quatuor Alfama brings out the diversity of the relational ties, thereby revealing its own share of intimacy.
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Akhtamar Quartet | Enluminures (Ref.: CYP1684)

COMMERCIAL RELEASE : APRIL 14TH, 2023

Now a staple of the repertoire, Debussy's String Quartet in G minor, Op. 10, nonetheless baffled Parisian audiences in its day. It takes us down the most unexpected harmonic paths, drawing on sounds as diverse as jazz, gamelan and Spanish folk music. Rich in colour and exotic tones, this majestic poetic work frees itself from the traditional musical rules of the West. Balancing between Belgium and France and its heart turned towards Armenia, the Akhtamar Quartet was immediately won over by this unique work, a real bridge between different cultures and traditions.

Just as the relationship between letter and illumination is constantly being revisited, Judith Adler de Oliveira has reworked age-old Armenian themes in a spirit that is sometimes faithful, sometimes at odds with tradition. The initial theme is always audible, and its anatomy will give the initial impetus to the composition, which moves insensitively, surreptitiously, from one musical language to another.

Some of the themes chosen already appear in the Komitas/Aslamazyan Miniatures, thus tracing a gateway to this essential work in the Akhtamar Quartet's repertoire.
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Songes | Élodie Vignon (Ref.: CYP1685)

COMMERCIAL RELEASE : JANUARY 26th, 2024

For the fourth solo album by pianist Élodie Vignon on Cypres, we have long been dreaming of a recording with orchestra! And so begins this fruitful collaboration with Eric Lederhandler, head of the Czech Virtuosi ensemble, of which he has been guest conductor for the past twenty years. Just as Élodie Vignon's first three albums which weave links between music and poetry, this one presents a unique programme, designed by Élodie and Eric to give pride of place to both orchestra and piano.

Manuel de Falla's Nights in the gardens of Spain quickly established itself as a masterpiece, combining finesse with the need to translate popular Spanish folklore with wit. They are an evocation of Andalusia, and more particularly of gypsy music. Gabriel Fauré's Ballade pour piano et orchestra adds a touch of French Romanticism to this programme.

Leader of the Finnish national school, Jean Sibelius appears here in two different guises through symphonic pieces, ranging from the most exalted Retour de Lemminkäinen to the most intimate of The Bard.
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