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Albums
Bach Cantatas
Johann Sebastian Bach
J.S. Bach Cantatas
Bach cantatas
Bach Trinity
BWV 129
BWV 107
BWV 99
BWV 137
Taipei Chamber Singers
Taipei Chamber Choir
Pierre Hantaï
Formosa Baroque
The French Concert
Baroque
Baroque sacred music
Baroque sacred music
Baroque cantata
Vocal Baroque music
Baroque choir
Baroque choir
Historically Informed Performance
Historically informed interpretation
Hip Bach
Baroque Asia
Early Music Asia
Taiwan Bach
Asian Baroque Ensemble
Period instruments
Ancient instruments
Baroque ensemble
Baroque orchestra
Bach Ensemble
Bach choir
Sacred cantatas
Sacred cantatas
Lutheran Cantatas
Lutheran cantatas
Baroque vocal music
Bach Recordings 2024
New Bach Recordings
Bach revival Asia
Bach choral music
Bach Sacred Works
Baroque Polyphony
Baroque polyphony
German Baroque music
German Baroque music
Lutheran Church Music
Baroque religious music
Baroque spirituality
Baroque Interpretations
French Baroque conductor
Pierre Hantaï conductor
Baroque specialists
Baroque continuo
Continuo Ensemble
Baroque oboes
Baroque violins
Bach alto aria
Bach Tenor Aria
Bach soprano aria
Bach bass aria
Taipei classical music
Taiwan classical scene
Asian Classical Excellence
Bach Gramophone
Classical choral recording
Choral Excellence Asia
International Baroque Collaboration
Bach Cross-Cultural Project
Paraty Records
Paraty Label
Universal Distribution Classical
PIAS distribution classical
2024 classical releases
Best Bach albums 2024
New Sacred Music Releases
Classical album review
Paraty new release
Baroque album release
Recording of Bach Cantatas by Taipei Chamber Singers
Pierre Hantaï conducts Bach Cantatas
Bach Cantatas Performed on Period Instruments
Best New Bach Cantata Albums
Asian interpretation of Bach cantatas
Historically Informed Bach recording 2024
Collaboration between Formosa Baroque and Le Concert Français
Sacred Vocal Music by J.S. Bach Taiwan
Taiwan Paris Saint Paul
Bach Cantatas — Taipei Chamber Singers | Paraty Label
Bach Cantatas
Under the direction of Pierre Hantaï, the Taipei Chamber Singers choir is joining forces with Formosa Baroque and Le Concert Français for a lively and deeply inspired reading of four major cantatas by Jean-Sébastien Bach (BWV 129, 107, 99 and 137).
Recorded in the sumptuous hall of the National Kaohsiung Center for the Arts in Taipei, this project brings together leading German-speaking soloists, the instrumentalists of Formosa Baroque and a new generation of Asian artists, around a common stylistic requirement. On the occasion of his return to the head of the Concert Français, Pierre Hantaï integrates this collaboration into a process of transmission and musical coherence.
Through this dialogue between East and West, Bach's work asserts itself as a universal language, supported by an interpretation that is at once rigorous, refined and intensely embodied.
Camille Saint-Saëns, Saint-Saëns, Saint-Saëns works for cello, Saint-Saëns works for cello and orchestra, Saint-Saëns cello works, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, Saint-Saëns Cello Concerto No. 1, 19th century, romantic repertoire, cello and orchestra, romantic cello concerto, romantic cello concerto, orchestral works by Saint-Saëns, French symphonic music, Marie-Claude Bantigny, cellist Marie -Claude Bantigny, Laurent Petitgirard, conductor Laurent Petitgirard, Conductor Laurent Petitgirard, Orchestre Symphonique Français, Orchestre Symphonique Français, Hungarian Symphony Orchestra, symphonic recording, classical music recording, French classical music, romantic cello concerto, cello concerto, cello concerto recording, cello concerto recording, cello concerto recording, cello concerto recording, cello concerto recording, recording, cello concerto recording, recording, cello concerto recording, recording, recording, cello concerto recording, orchestral cello recording, cello concerto recording, recording, cello concerto recording, orchestral cello recording, cello concerto recording, orchestral cello recording, cello concerto recording, recording, cello concerto recording, orchestral cello recording, cello concerto recording, orchestral cello recording, cello concerto recording, recording, orchestral cello, recording, recording tral works, French romantic repertoire, cello soloist with orchestra, French classical music, romantic cello, contemporary French conductor, symphonic interpretation, high quality recording, cello and orchestra album
Saint‑Saëns, Works for Cello and Orchestra
Two recording sessions, separated by more than thirty years, combine the major pages that Camille Saint-Saëns devoted to the cello: Concerto No. 1 (1872), recorded in 1996 with the French Symphony Orchestra, the rare Concerto No. 2 (1902), recorded in Budapest in 1902, recorded in Budapest in 2022 with the Hungarian Symphony Orchestra, as well as La Muse et le Poète (1910), a luminous dialogue between violin, cello and orchestra.
Under the bow of Marie-Claude Bantigny and the direction of Laurent Petitgirard, these interpretations reveal a coherent and timeless vision of Saint-Saëns.
Naïs, RCT 49 Dardanus, RCT 35B (1744 Version) Castor and Pollux, RCT 32 Castor and Pollux, RCT 32 Castor and Pollux, RCT 32 Hippolyte and Aricie, RCT 43 (Revised 1742) Les Indes galantes, RCT 43 (Revised 1742) Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes, RCT 44 Les Indes galantes RCT 57 The Sybarites, RCT 57 The Temple of Glory, RCT 43 (Revised 1742) Les Indes galantes, RCT 59 Dardanus, RCT 35A Dardanus, RCT 35B (1744 Version) Jeune Orchestre Rameau (1744 Version) Jeune Orchestre Rameau, JOR, JOR, Jean-Philippe Rameau, Rameau orchestra, Rameau baroque orchestra, French baroque, French baroque music, French baroque music Music, French baroque music, baroque orchestra, baroque orchestra, baroque orchestra, orchestra on ancient instruments, orchestra on ancient instruments, period instruments, historically-informed interpretation, HIP performance, French baroque orchestra, Bruno Procopio, baroque conductor, harpsichordist, artistic direction, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio, artistic direction Bruno Procopio,, Baroque recording, War and Peace recording, War and Peace recording, War and Peace album, Bruno Procopio, 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18th century, French classical heritage, French classical heritage, French classical heritage, French classical heritage, French heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage, French musical heritage Music France, European Baroque Orchestra, European Baroque Orchestra, European Baroque Orchestra, European Baroque Orchestra, European 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War and Peace
Founded by Bruno Procopio, the Jeune Orchestre Rameau (JOR) is a major musical project dedicated to the rediscovery and transmission of Jean-Philippe Rameau's repertoire. It brings together young musicians from the largest international conservatories, alongside established professionals, in a demanding approach of historically informed interpretation on period instruments.
The ambition of the JOR is to constitute an orchestra of around 50 musicians, like the orchestra of the Royal Academy of Music of Rameau's time, in order to restore all the richness and sound power of this repertoire.
His recordings, published by Paraty and distributed by PIAS-Universal, have been widely acclaimed by international critics. Her first album, War and Peace, received the Prix d'Excellence du Disque awarded by the magazine Scherzo and was selected among the best records of the year 2022.
Debussy in Resonance, Joanna Goodale, Claude Debussy, solo piano, contemporary piano, contemporary classical music, sound resonance, meditative music, piano and gongs, Tibetan singing bowls, Chinese gongs, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, music inspired by nature, contemporary classical crossover, sacred music, spirituality and music, dialogue between East and West, minimalist music, soundscapes, Chinese gongs, music, Chinese gongs, music, music, Chinese gongs, music, music inspired by nature, musical impressionism, musical impressionism, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary creation, contemporary Odas, Reverie, music for meditation, RTS Espace 2 recording, La Chaux-de-Fonds music hall, La Chaux-de-Fonds music room, Paraty label, poetic piano, poetic piano, poetic piano, introspective music, classical crossover, contemporary classical piano, Debussy reinterpretation, Debussy reinterpretation, Debussy reinterpretation, Debussy reinterpretation, sound meditation, ambient classical
Debussy in Resonance
In Debussy in Resonance, pianist and composer Joanna Goodale offers a deeply poetic re-reading of Claude Debussy's universe, by bringing her works into dialogue with her own piano creations, Chinese gongs and Tibetan singing bowls. Inspired by nature, dreams and the cultures of East Asia that have so nourished Debussy's imagination, the album traces a sensory journey where sound becomes space, breath and resonance.
Conceived as a genesis of life, the program travels from water to the moon, from earth to the sacred, combining emblematic pages by Debussy (Reverie, Moonlight, The Sunken Cathedral, Pagodas) to original compositions by Joanna Goodale. The use of ritual instruments, sound objects, and extended piano techniques enriches the timbral palette, revealing the mysterious connections between nature, imagination, and spirituality.
Recorded in the exceptional acoustics of the La Chaux-de-Fonds Music Hall by RTS — Espace 2, Debussy in Resonance Is an invitation to deep listening, to contemplation and to reconnect with the living — a singular project, at the crossroads of classical repertoire, contemporary creation and the sacred traditions of the East.
Octetology, Neotango, Astor Piazzolla, Octeto Buenos Aires, Octeto Buenos Aires, Tango Nuevo, Tango Nuevo, Tango Nuevo, Argentine Tango, Tango and Classical Music, Nadia Boulanger, Tango and Classical Music, Nadia Boulanger, Gerry Mulligan, Tango Nuevo, Tango Nuevo, Tango Nuevo, Tango Nuevo, Argentine tango, Tango and Classical Music, Nadia Boulanger, Gerry Mulligan, Tango, and Classical Music, Nadia Boulanger, Gerry Mulligan,, Tango, and Classical Music, Nadia Boulanger, Gerry Mulligan,, Tango, and Classical Music, Nadia Boulanger, Gerry Mulligan, octet, instrumental music, Argentine musical heritage, musical creation, scholarly and popular music, 20th century tango, tango avant-garde, Piazzolla Paris, tango without dancers, tango without dancers, tango without singer, Argentine chamber music, Paraty label, contemporary European tango, artistic research project, reconstructed historical tango
Neotango
Octetology — Neotango
In 1955, Astor Piazzolla returned to Buenos Aires after two decisive years in Paris. Inspired by the teaching of Nadia Boulanger, the hustle and bustle of Parisian jazz and his encounters with figures such as Gerry Mulligan, he made a radical break with traditional tango. With the Octeto Buenos Aires, Piazzolla invented an instrumental tango, free from dance and song, crossed by jazz and classical writing: the birth point of Tango Nuevo.
Without immediate success, Piazzolla himself destroyed the scores of this visionary repertoire, making any revival impossible for decades.
Today, Octetology is bringing this disappeared music back to life through meticulous research and transcription, restoring the original arrangements of the Octeto. Neotango brings back one of the founding chapters of modern tango, in all its strength, freedom and modernity.
Fanny Vicens, A Touch of Air, Goldberg Variations, Goldberg Variations, Goldberg Variations, Goldberg Variations, Goldberg Variations, Goldberg Variations, Goldberg Variations, Goldberg Variations, Bach Interpretation, Historically Informed Performance, Bach Performance, Historically Informed Performance, Bach, Historical Informed Performance, HIP Bach, Hip-Bach, Hip-Bach, Hip-Bach, Contemporary Bach, Variations, Goldberg Variations, Goldberg Variations classical interpretation, classical accordion, contemporary classical music, contemporary classical music, Paraty label, Bach recording, new Bach performance, avant-garde classical, crossover classical, accordion virtuoso, accordion virtuoso, keyboard music Bach, Goldberg Variations recording, Bach masterpiece, modern baroque interpretation
Goldberg Variations, Fanny Vicens
With Johann Sebastian Bach's Goldberg Variations, Fanny Vicens approaches a seminal work of keyboard repertoire through the singular prism of the accordion. This transcription is based on a thorough reflection on breath, the continuity of sound and the circulation of voices, elements at the heart of Bach's writing.
The accordion, through its ability to support and shape sound, highlights polyphony, the internal breathing of music and the rigorous architecture of variations. Each line finds its place in a precise balance, allowing a clear, articulated and deeply musical reading of the work.
This interpretation is part of a demanding and thoughtful approach, attentive to the structure, counterpoint and meditative dimension of the Goldberg Variations. Without looking for the effect, Fanny Vicens offers a renewed listening to this major work, where formal rigor dialogues with great freedom of breath and tone.
Madre Selva, Diana Baroni, Ronald Martin Alonso, Ronald Martin Alonso, Ensemble Vedado, Vedado, ancient music, folk traditions, Latin America, singing, traverso, viola da gamba, Keyvan Chemirani, Abraham Mansfarroll, Abraham Mansfarroll, Abraham Mansfarroll, Abraham Mansfarroll, Abraham Mansfarroll, Tunde Jegede, Tunde Jegede, Tunde Jegede, Rafael Güel Frías, Rafael Güel Frías, Pacha Mama, Tlaloc, Water, Earth, Earth, Earth, Air, Nature, Nature, Earth, Nature, Abraham Mansfarroll, Abraham Mansfarroll, Abraham Mansfarroll, Abraham Mansfarroll, Tunde Jegede, Tunde Jegede, Tunde Jegede, Huatl, Quechua, oral traditions, Vézelay, City of the Voice, Paraty
Madre Selva, Diana Baroni, Ronald Martin Alonso & Ensemble Vedado
Madre Selva is an ode to nature and to Mother Earth, created by Diana Baroni and Ronald Martin Alonso as an extension of their desire to connect memory, territories and transmitted traditions. Designed as a tribute, an offering, and a call, the program evokes the forces of life — water, earth, fire, and air — as well as the human responsibility to preserve what protects and balances the world.
Designed as a musical journey, the album brings together a repertoire rooted in the ancestral heritage of Latin America, from the Andes to Mexico, from the Caribbean to the Bolivian plateaus. Songs in indigenous languages, oral traditions, poetry, poetry, rhythms and ancient sources dialogue in a common artistic space where memories meet across borders.
With Diana Baroni, Ronald Martin Alonso and the Vedado Ensemble, Madre Selva deploys a singular sonic alchemy, nourished by the percussions of Keyvan Chemirani and Abraham Mansfarroll, the kora of Tunde Jegede, as well as the jarana and the pre-Columbian aerophones of Rafael Güel Frías. Between meditation, celebration and invention, this album offers a deeply living and poetic musical experience.
Bach, Johann Sebastian Bach, Goldberg Variations, Goldberg Variations, Goldberg Variations, BWV 988, BWV 988, Bruno Procopio, harpsichord, baroque music, classical music, keyboard, keyboard work, variations, interpretation Bach, Goldberg harpsichord, Bach harpsichord, Bach harpsichord, Bach recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Bach harpsichord recording, Paraty label, ancient music, baroque repertoire Bach, Bach BWV 988
Bach, Goldberg Variations, Bruno Procopio, harpsichord, harpsichord
In the Goldberg Variations, Johann Sebastian Bach deploys a musical architecture of inexhaustible richness and complexity, where virtuosity, rigor and imagination intertwine at every moment. A monument work in the keyboard repertoire, it constitutes a real challenge for the performer, both technically and in the construction of a coherent and lively musical discourse.
In this recording, Bruno Procopio offers a personal and deeply thoughtful reading of this cycle. Between clarity of lines, meaning of phrasing and attention to contrasts, he explores the constant tension between unity and diversity, silence and resonance, giving each variation its own identity while maintaining the coherence of the whole.
Carried by a vision that is both analytical and sensitive, this interpretation is part of a contemporary approach to the repertoire, where tradition is nourished by renewed listening. It thus reveals all the modernity of Goldberg, a timeless work where the individual and the collective respond to each other with singular intensity.
XASAX, XASAX plays Leoš Janáček, Leoš Janáček, Leoš Janáček, Janacek, Leoš Janáček saxophone quartet transcriptions, saxophone quartet transcriptions, saxophone quartet transcriptions, saxophone quartet transcriptions, transcriptions for saxophone quartet, Pierre-Stéphane Meugé, Janacek, Janacek, Leoš Janáček saxophone quartet transcriptions, saxophone quartet transcriptions, saxophone quartet transcriptions, transcriptions for saxophone quartet, transcriptions for saxophone quartet, Pierre-Stéphane Meugé, Marcus Weiss, Marcus Weiss, Marcus Weiss, Jean-Michel Goury, Serge Bertocchi, Four Moravian Male-Voice Choruses, Four Moravian Male-Voice Choruses Songs, On an Overgrown Path, On an Overgrown Path Book I, On an Overgrown Path Book I, On an Overgrown Path Book I, On an Overgrown Path Book I, Intimate Sketches, Intimes, Glagolitic Mass, Postludium, Postlude, Moravian, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian songs, Moravian Folk Paraty, Paraty 2025019
XASAX plays Leoš Janáček
Album devoted to, XASAX plays Leoš Janáček offers a rich and contrasting journey through the world of the Czech composer through original transcriptions for saxophone quartet.
Led by the strong personalities of the XASAX ensemble (Pierre-Stéphane Meugé, Marcus Weiss, Jean-Michel Goury, Serge Bertocchi), the program goes through several emblematic cycles: Moravian songs, piano works (On a bushy path), late sketches (Intimes) and excerpts from the Glagolitic mass.
Between vocal writing, folklore and modernity, these pieces reveal all the uniqueness of Janáček's language, here enhanced by the warmth and sound plasticity of saxophones, in a constant dialogue between tradition and reinvention.
Les Mondes Baroques, Role-playing, Anne-Charlotte Dupas cello, Xavier Marquis bassoon, chalumeau, Paolo Corsi harpsichord, Bor Zuljan archiluth, Louis Delignon percussion, Massimo Pinca double bass, Massimo Pinca double bass, Julie Pinca double bass, Julie Roset soprano, Julie Roset soprano, Julie Roset soprano, Julie Roset soprano, Joseph Bodin de Boismortar Bass Sonatas Op. 26 and Op. 50, Jean-Philippe Rameau Les Sauvages, Antoine Lisette Quit La Plaine, Antoine Lisette Quit La Plaine, Joseph Cassanea de Mondonville La Curieuse, Louis-François Joseph Patouart Sonata Op. 2, Dances from Cyprus Blainville, French Baroque music, 18th century, Paraty
Roleplay, Baroque Worlds
With Role Play, the ensemble Les Mondes Baroques offers a singular journey through French music from the middle of the 18th century, placed under the sign of miscegenation and curiosity. At the heart of this program are the bass sonatas by Joseph Bodin de Boismortier, whose hybrid writing combines French taste and Italian taste, scholarly forms and popular inspirations. These works dialogue with well-known tunes, dances and songs from a variety of sources, brought together as pieces from a musical cabinet of curiosities.
Around these sonatas are Les Sauvages by Jean-Philippe Rameau, Lisette Quit la Plaine attributed to Antoine Albanese, La Curieuse associated with Jean-Joseph Cassanéa de Mondonville, as well as pieces by Louis-François Joseph Patouart and Danses de Chiffre brought back by Charles-Henri de Blainville. Some pages, sung in 18th century Haitian Creole or inspired by extra-European traditions, bear witness to the circulation of styles, stories and imaginaries during the Baroque period. Percussion, integrated in a dramaturgical way, reinforces this narrative and ritual dimension.
Led by Anne-Charlotte Dupas and Xavier Marquis, Jeu de Rules brings together a cast of rare colors: cello, bassoon, chalumeau, harpsichord, archiluth, percussion and double bass, to which is added the voice of Julie Roset. The ensemble Les Mondes Baroques affirms here a living and embodied vision of the repertoire, where the interpretation is based as much on historical research as on the freedom of play and the imaginary, making French Baroque music resonate in all its expressive diversity.
Metamorphoses, Belinda Kunz mezzo-soprano, Sandrine François flute, Sandrine François flute, Valentin Mansard piano, French melody, French music 19th century, Claude Debussy melodies, Gabriel Fauré melodies, Gabriel Fauré melodies, Camille Saint-Saëns melodies, Camille Saint-Saëns melodies, Camille Saint-Saëns melodies, Camille Saint-Saëns melodies, Maurice Ravel melodies, Maurice Ravel melodies, Maurice Ravel melodies, Maurice Ravel melodies, Maurice Ravel melodies, French music 19th century, Claude Debussy melodies, Gabriel Fauré melodies, Gabriel Fauré melodies, Camille Saint-Saëns melodies, Camille Saint-Saëns melodies, Camille Saint-Saëns melodies, Camille Saint-Saëns melodies, Camille Piano, Paraty Productions
Metamorphoses
Métamorphoses explores the multiple faces of French melody between the end of the 19th century and the first 20th century, in a program where poetry and instrumental color occupy a central place. Through a selection of works by Debussy, Fauré, Saint-Saëns, Saint-Saëns, Ravel, Taffanel and their contemporaries, this album highlights an aesthetic of change, transformation and passage, where text, vocal line and flute dialogue closely.
The program combines famous melodies and rarer pages, revealing the expressive richness of this repertoire and the diversity of writings. The composers invited explore in turn the intimacy of singing, poetic suggestion, lyrical momentum or impressionist transparency. The flute, in turn partner, extension or commentary of the voice, contributes to this impression of movement and permanent metamorphosis, supported by refined piano writing.
Led by Belinda Kunz, mezzo-soprano, Sandrine François on flute, and Valentin Mansard on piano, Métamorphoses is part of a tradition of chamber music attentive to text and musical breathing. The album offers a sensitive and structured reading of French melody, where collective listening and the clarity of the discourse serve a coherent and deeply embodied poetic journey.
Charles-François Grégoire de La Ferté, Forgotten Sonatas, First book of sonatas for violin and bass, first book of sonatas for violin and bass, French baroque music, baroque violin, Ensemble La Ferté, Paulo Castrillo baroque violin, Manon Chapelle viola da gamba, Manon Chapelle viola da gamba, Manon Chapelle viola da gamba, Manon Chapelle viola da gamba, Manon Chapelle viola da gamba, Manon Chapelle viola da gamba, Manon Viola da gamba, Manon Chapelle viola da gamba, Manon Chapelle viola da gamba, French viola da gamba, Manon Chapelle viola da gamba, Manon Chapelle viola da gamba, French viola da gamba,
Forgotten Sonatas, Ensemble La Ferté
Charles-François Grégoire de La Ferté's Forgotten Sonatas have accompanied the La Ferté Ensemble since 2022, the year they were rediscovered and first deciphered. From the very first readings, the musicians were struck by the originality of this deeply personal repertoire, which is not linked to the models of Rebel, Jacquet de La Guerre or Marchand. This music reveals a singular language, nourished by the Lullist heritage, assumed Italian influences and a highly developed sense of dance and bass line.
Published in 1707, La Ferté's First Book of Sonatas for Violin and Bass testifies to a pivotal moment in the history of French music, where the Italian sonata was gradually integrated into national taste. Structured in two parts of six sonatas, the collection explores a wide variety of forms, characters and tones. For this recording, Ensemble La Ferté proposes an order designed as a musical journey, respecting the main harmonic poles of the collection while highlighting the expressive diversity of each sonata.
Founded by Paulo Castrillo, Manon Chapelle and Nicolas Mackowiak, Ensemble La Ferté is dedicated to exploring the first French repertoire for violin and basso continuo through an approach based on historical practices. Low position of the violin, French bow, ornamentation inspired by treatises from the turn of the 17th and 18th centuries, use of the harpsichord and the positive organ contribute to a lively and committed reading of these sonatas. This first recording is both the culmination of several years of collective research and the starting point of an artistic project dedicated to the rediscovery of a musical heritage that is still largely unknown.
Paris Bruxelles 1830, romantic guitar, Élodie Brzustowski guitar, Élodie Brzustowski guitar, Victor Magnien guitar, Victor Magnien guitar, Marco Aurelio Zani de Ferranti, Napoleon Coste guitar, Six Biblical Nocturnes Op.3, Fantasy on Otello Op.7, Fantasy on Armide Op.7, Fantasy on Armide Op.4, Fantasy on Armide Op.4, Fantasy on Armide Op.4, Victor Magnien guitar, Victor Magnien guitar, guitar, Victor Magnien de Ferranti, Marco Aurelio Zani de Ferranti, Napoléon Coste guitar, guitar, Six Biblical Nocturnes Op.3, Fantasia sur Otello Op.7, Fantasia sur Armide Op.7, Fantasia sur Armide Op.4
Paris-Brussels, 1830
Between Paris and Brussels, around 1830, the romantic guitar enjoyed a discreet but refined golden age. This album explores a rare repertoire, located at the crossroads of French elegance and cosmopolitan romanticism, through works by Victor Magnien, Marco Aurelio Zani de Ferranti and Napoléon Coste, figures that are currently too little present on the record but essential to the history of the instrument.
To serve this program, Élodie Brzustowski relies on three historic guitars, instruments signed Joseph Klimits (1824), Jean Joseph Coffe-Goguette (around 1830) and René Lacote (1841), whose specific stamps illuminate each work according to its aesthetic and geographical context. Concerting fantasies, biblical nocturnal plays and characterful pieces make up a sensitive journey, where the guitar becomes in turn a lyrical voice, a living room instrument and a virtuoso soloist.
Through this demanding and coherent choice, the album offers a rediscovery of the romantic guitar as an instrument of intimate narration and profound expressiveness. Paris — Brussels, 1830 is thus part of a rigorous as well as poetic musicological approach, offering a renewed look at a repertoire that is at once scholarly, expressive and deeply embodied.
Carl-Emmanuel Fisbach, saxophone, contemporary saxophone, contemporary music, Christian Lauba Giusto, Christian Lauba Giusto, Mayu Hirano Narcisse en Eaux Trouble, Yumiko Yokoi Metal Bird, Benjamin Attahir Al Maghrib Red Sun, Benjamin Attahir Al Maghrib Red Sun, Juan Arroyo Chant Astral, Juan Arroyo Chant Astral, Juan Arroyo Chant Astral, Juan Arroyo Chant Astral, Mathieu Bonilla Wine-o, Mathieu Bonilla Wine-o, Stefano Gervasoni Quarta Traccia, Stefano Gervasoni Quarta Traccia, Víctor Ibarra Insight, Adolphe Sax, Tenophone Or en C, contemporary creation, 21st century music, Paraty Productions
7 Saxophones
This album brings together seven contemporary works written between 2018 and 2025 for seven different saxophones, all resulting from a direct collaboration between composers and performers. By placing the saxophone at the heart of current creation, this project pays tribute to the heritage of Adolphe Sax while affirming a resolutely forward-looking orientation. Each piece explores a singular face of the instrument, from alto to baritone, from sopranino to tenor saxophone in historic C from 1880.
The composers gathered here, Christian Lauba, Mayu Hirano, Yumiko Yokoi, Yumiko Yokoi, Benjamin Attahir, Juan Arroyo, Mathieu Bonilla, Stefano Gervasoni and Víctor Ibarra, develop contrasting languages, using both extensive techniques and a writing based on breath, vibration and sound poetry. Some works dialogue with literary, spiritual or mythological references, while others question the relationship between modernity and historicity of the instrument, in particular through the use of an ancient saxophone.
Performed by Carl-Emmanuel Fisbach, this recording offers a demanding and coherent journey within the contemporary saxophone repertoire. At the crossroads of experimentation, virtuosity and aesthetic reflection, this album is a major contribution to the enrichment of the instrument's solo repertoire, testifying to the central role of the performer in musical creation today.
Franz Liszt, Ferenc Vizi piano, Liszt late works, Liszt late works, Liszt piano solo, Liszt Piano solo, Liszt Lugubre Gondola, Liszt Unstern, Liszt Bagatelle sans tonality, late romantic music, late romantic music, late romantic music, late romantic music, Liszt piano solo, Liszt Piano solo, Liszt
Franz Liszt, Ferenc Vizi
This disc is devoted to the last period of Franz Liszt's piano work, marked by a sparse, introspective and visionary writing. Through a selection of late pieces, the program explores a Liszt far removed from demonstrative virtuosity, turned towards an aesthetic of concentration, fragmentation and silence. These pages, often brief and enigmatic, announce the ruptures of the 20th century while maintaining a profound expressive charge.
The works brought together here bear witness to radical formal research, where harmony is freed from traditional frameworks and where the piano becomes a space for meditation. Between contemplative pieces and darker visions, Liszt questions time, memory and finitude. This journey highlights the coherence of a late language that was long marginalized, and is now recognized as one of the foundations of musical modernity.
Ferenc Vizi approaches this repertoire with particular attention paid to the clarity of speech, to the resonances and to the breathing of musical time. His interpretation favors the balance between structural rigor and poetic freedom, giving rise to the understanding of these works as an inner journey, from meditation to the gradual erasure of sound.
L'Enchanteur, Alice Szymanski flute, Mélanie Bracale piano, Mélanie Bracale piano, Lucile Richardot mezzo-soprano, Marie Ythier cello, flute Louis Lot, Gaston Blanquart, Claude Debussy Prelude to the Afternoon of a Faun, Prelude to the Afternoon of a Faun, Gabriel Fauré Piano, Gabriel Fauré Fantasia op.79, Gabriel Fauré Fantasy op.79, Marie Ythier cello, flute Louis Lot, Gaston Blanquart, Claude Debussy Prelude to the Afternoon of a Faun, Gabriel Fauré Fantasia op.79, Gabriel Fauré Fantasia op.79, Philippe Gaubert Sicilienne, Albert Roussel Les Joueurs de Flûte op.27, Reynaldo Hahn Two pieces for flute, Reynaldo flute and piano, Pauline Viardot Six 15th century French songs, Maurice Ravel Chansons madécasses, French music, chamber music, French impressionism, historical flute, historical flute, French flute school, Paraty
The Enchanter
L'Enchanteur brings together four female musicians around a French repertoire from the turn of the 19th and 20th centuries, designed as a tribute to the flute and its evocative power. At the heart of the project is a rare instrument, a Louis Lot flute from 1869 that belonged to Gaston Blanquart, a major figure in the French Flute School. This recording compares the instrumental heritage and the musical writings that have shaped modern French aesthetics, between impressionism, lyricism and timbric refinement.
The program covers the major figures of the repertoire for flute, voice and piano, from Claude Debussy to Maurice Ravel, including Gabriel Fauré, Philippe Gaubert, Albert Roussel, Albert Roussel, Reynaldo Hahn and Pauline Viardot. The flute dialogues in turn with the piano, the voice and the cello, exploring contrasting atmospheres, from the reverie of the Prelude to the afternoon of a faun in the radical colors of Chansons Madécasses. Some works are proposed in rare or unpublished versions, underlining the historical and artistic coherence of the project.
Worn by Alice Szymanski on flute, alongside Mélanie Bracale on piano, Lucile Richardot mezzo-soprano and Marie Ythier on cello, L'Enchanteur is built as a journey of transmission and sharing. The album affirms a vision of chamber music where mutual listening, the clarity of speech and the memory of yesterday's performers nourish a contemporary reading, faithful to the spirit of the works as well as to their expressive freedom.
Hélène Diot, harpsichord, Ioannes Ruckers 1612, Ruckers Amiens, Ruckers Amiens, Jan Pieterszoon Sweelinck, William Byrd, Orlando Gibbons, music for harpsichord, late Renaissance music, incipient Baroque music, early baroque music, early music, harpsichord music, late Renaissance music, incipient Baroque music, early Baroque music, Fitzwilliam Virginal Book, Fitzwilliam Virginal Book, Parthenia, Parthenia, historical harpsichord, ancient music, Flemish harpsichord, Sweelinck SwwV 296, Fantasia Cromatica SwwV 296, Fantasia Cromatica SwwV 296, Fantasia Cromatica SwwV, 258 Echo Fantasia SwWV 261, Pavana Lachrimae Byrd, Fantazia of Foure Parts Gibbons, Paraty, Helene Diot harpsichord, Ruckers 1612 harpsichord recording, Sweelinck keyboard works, Sweelinck keyboard works, Byrd virginal music, Byrd virginal music, Orlando Gibbons keyboard music, Fitzwilliam Virginal Book Harpsichord, Parthenia Keyboard, Historic Harpsichord Recording, Early Keyboard Music Europe, Harpsichord Solo Paraty
Ruckers 1612, The Immobile Journey
Recorded on the historic harpsichord Ioannes Ruckers from 1612, preserved at the Museum of Picardy in Amiens, this album brings together major works by Jan Pieterszoon Sweelinck, William Byrd and Orlando Gibbons. This program brings together three central figures of the European keyboard at the turn of the 16th and 17th centuries, whose languages dialogue between England, the United Provinces and continental traditions. The choice of this exceptional Ruckers, carefully restored and rarely recorded for several decades, illuminates these works in a sonic light faithful to their original context.
Harpsichordist and teacher, Hélène Diot offers here an attentive reading of the stylistic origins and writing practices specific to each composer. Sweelinck's toccatas, fantasies, and variations reveal a personal synthesis between Italian and English influences. The pieces by Byrd and Gibbons, including those from the Fitzwilliam Virginal Book and the Parthenia collection, reflect keyboard art that was at once rigorous, expressive and deeply linked to the musical rhetoric of their time.
Entitled The Immobile Journey, this program explores the multiple musical destinations offered by the same instrument, without leaving the keyboard. Through its mesotonic temperament, its layout and its richness of stamps, the Ruckers of 1612 allows us to hear the contrasts of affects, the echo effects and the contrapuntal clarity that underlie this repertoire. This recording is thus both a contribution to the knowledge of the instrumental heritage and as a coherent journey through the golden age of the European keyboard.
Dietrich Buxtehude, Arnaud Van de Cauter, baroque organ, organ baroque, Schnitger Norden organ, organ school in North Germany, 17th century organ, solo organ recording, BuxWV 212, BuxWV 212, BuxWV 212, BuxWV 212, BuxWV 223, BuxWV 223, BuxWV 223, BuxWV 161, BuxWV 155, Passacaglia in D minor, Toccata in D minor, chorals by Buxtehude, Paraty, historic organ, Arnaud Van de Cauter organ, Arnaud Van de Cauter organ, Arnaud Van de Cauter organ, Dietrich BuxWV organ works, Schnitger organ Norden, Nun lob mein Seel den Herren BuxWV 212, Wie schön leuchtet der Morgenstern BuxWV 212, Wie schön leuchtet der Morgenstern BuxWV 223, Passacaglia 155 BuxWV 161, Toccata BuxWV 161, Toccata BuxWV 212, Wie schön leuchtet der Morgenstern BuxWV 223, Passacaglia 155 BuxWV 161, Toccata BuxWV 161, organ Baroque Germany, North German organ school, organ solo recording Paraty
Experiencing Vibrations With Buxtehude
Recorded on the Schnitger organ (1688) in St. Ludgeri's Church in Norden, Experiencing Vibrations with Buxtehude brings together an emblematic selection of chorals, preludes, toccatas and variations by Dietrich Buxtehude, a major figure in the Baroque organ school in North Germany. This historic instrument, restored in keeping with its original workmanship, offers an exceptional sound palette, based on a unique spatialization and a modified mesotonic temperament, particularly adapted to the language of Buxtehude.
Organist and Somatic Experiencing® therapist, Arnaud Van de Cauter approaches this repertoire as a sensitive experience of sound and vibration. Reading it highlights the musical rhetoric specific to North German Baroque: alternation of affects, echo effects inherited from Sweelinck, contrasts between free writing and rigorous polyphony. The major works of the program, such as Nun lob mein Seel' den Herren, Wie schön leuchtet der Morgenstern, the Passacaglia in D minor Or the Toccata in D minor, reveal a style deeply linked to the architecture and acoustics of the Norden organ.
Designed as an immersive journey, this recording links organic heritage, interpretative research and attention to the physical experience of listening. More than just an anthology, Experiencing Vibrations with Buxtehude proposes an approach where music becomes a space of resonance, bringing together the story, the instrument and the listener in a living continuity.
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