These works are very different from the earlier viol pieces, from the instruments used to the works’ formal structures: they include a sonata inspired by Italian models marked à la marésienne (in Marais’ own style), a piece on a three note basso ostinato that evokes the peals of bells in a Parisian church, and an astonishing monument of a piece — La Gamme — that Marais described as an example of a small opera for instruments.

THE SCALE KNITTERS
Fiona-Émilie Poupard- violin
Marion Martineau- bass violin
Atsushi Sakai- bass viol
Magnus Andersson- theorbo
Brice Sailly- harpsichord

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Captivated by this music and unaware of the author’s identity (not yet having the training necessary to identify him), I not only listened to the entire work but also made a pledge to dedicate my life to this composer, regardless of who it might be. Many of the impulses and interests of our teenage years frequently fade away, but this was not the case with my new-found passion for Liszt, which has steadfastly grown over time, along with my knowledge of his life and works.

Miriam Gómez-Morán, Pianist 

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Exclusive Behind The Scenes Video – available now for NativeDSD Lite or Plus Members.

The Detroit Symphony Orchestra and its Music Director Jader Bignamini present Wynton Marsalis’ Blues Symphony.

The work is a triumphant ode to the power of the blues and the scope of America’s musical heritage. With a blend of influences from ragtime to habanera, the work takes listeners on a sonic journey through America’s revolutionary era, the early beginnings of jazz in New Orleans, and a big city soundscape that serves as a nod to the Great Migration.

Detroit being one of the most vibrant melting pots of musical cultures in the United States, the Detroit Symphony Orchestra seems the ideal advocate for this original contribution to the symphonic repertoire. The recording is also the first with Jader Bignamini, giving a new dimension to his music directorship.

Wynton Marsalis is a world-renowned trumpeter, bandleader, composer, and a leading advocate of American culture. Jader Bignamini has worked with the world’s leading orchestras and opera companies. The Detroit Symphony Orchestra, America’s fourth-oldest, has a history as varied and exciting as that of its hometown.

Detroit Symphony Orchestra
Jader Bignamini, Conductor

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Enjoy the full range of one of the oldest instruments from the western music tradition. Travel back to the renaissance on the wings of the beautiful acoustics in which these recordings where made and head back to modern times to see how nowadays music is inspired and fuelled by centuries of musical tradition and history.

Matthijs van der Moolen, Sackbut (Baroque Trombone)

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The album title and cover photography were inspired by the song Zwielicht, which together with Mondnacht from the same Op. 39 cycle is often considered to be the epitome of German nineteenth-century Romanticism. It is also a fitting metaphor for Schumann’s troubled soul, constantly oscillating between light and dark, between hope and despair. Shedding a fascinating light on Schumann’s dark inner world, the recorded songs are both an expression of his profound love for his wife Clara and of euphoria after having overcome a period of severe mental disturbance. It is hard to think of better ambassadors for this repertoire than Ian Bostridge and Saskia Giorgini, whose acclaimed partnership has made them seasoned champions of the German lied.

Ian Bostridge is one of the most celebrated tenors and lied interpreters of his generation. His Pentatone recording of Schubert’s Winterreise(2019) was crowned with the ICMA Vocal Music Award 2020. Bostridge has since released Schwanengesang (2022), The Folly of Desire (2023) as well as Die schöne Müllerin (2020) and Respighi Songs (2021), both together with Saskia Giorgini, on the label. Giorgini’s Liszt recordings Harmonies poétiques et religieuses (2021) and Consolations (2023), as well as her Debussy recital album Images (2024), have all received extensive praise.

Ian Bostridge, Tenor
Saskia Giorgini, Piano

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This swashbuckling drama was first set to music by Francesco Gasparini (Venice 1705) – whose version served as the basis for a pasticcio (London 1712) with arias by various composers including Handel – then by Domenico Scarlatti (Rome 1715) and Giuseppe Carcani (Venice 1743).

The surviving arias from these lost operas are brought back to life by the Concert de l’Hostel Dieu and the charismatic soprano Roberta Mameli, who lends her supple voice to the titular Danish Prince and to the strong women around him, his courageous lover Veremonda (Shakespeare’s Ophelia) and his tormented mother Gerilda (Gertrude).

Roberta Mameli, Soprano
Le Concert de l’Hostel Dieu
Franck-Emmanuel Comte, Harpsichord & Conductor

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The album features classics like Elton John‘s Your Song, (They Long to Be) Close To You written by Burt Bacharach and performed by The Carpenters, How Deep Is Your Love? by the Bee Gees, Here, There and Everywhere by The Beatles, And I Love You So by Perry Como, Until It’s Time for You to Go by Elvis Presley and Both Sides Now by Judy Collins.

This is Panton’s 7th album on the 2xHD Mastering label at NativeDSD.  It is exclusively available at NativeDSD in Stereo DSD 512, DSD 128, DSD 64 and FLAC 96k along with Stereo DSD 256, FLAC DXD and FLAC 192k.

Diana Panton, Vocals 
Reg Schwager, Guitar 
Don Thompson, Bass, Piano & Vibes 

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Grosz then emigrated to the United States in 1939, when his music became influenced by both post-Romanticism and jazz. This program, conceived and performed here by Christian Immler and Helmut Deutsch, both masters of the German Lied, includes many songs that are recorded for the first time. Grosz’s New York songs have inspired many cover versions by such 20th-century musical greats as Frank Sinatra, Nat King Cole and the Beatles.

Christian Immler, Bass Baritone
Helmut Deutsch, Piano

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This program includes works primarily from the 20th and 21st centuries, with music by John Rutter, Jonathan Dove, Matthew Martin, Toby Young, Charles Wood, Ko Matsushita, Sir William Harris, Eric Whitacre, Thomas Tallis, Michael Garrepy and David Hill.

There is also an evening prayer by English composer Joanna Marsh, a work by South African composer Motshwane Pege, the winner of Altera’s third composition competition, and John Cameron’s arrangement of Edward Elgar’s Nimrod from the Enigma Variations; this work, entitled Lux aeterna, is perfectly suited to Altera’s strengths.

Ensemble Altera

Sopranos: Clare Brussel, Katelyn Grace Jackson, Eleonore Cockerham, Rachel Garrepy, Janet Stone, Alissa Ruth Suver, Sarah Yanovitch Vitale
Altos: Andrew Leslie Cooper, Sylvia Leith, Christopher Lowrey, Ashley Mulcahy
Tenors: Christian Crocker, Mark Garrepy, Nicholas Madden, Steven Soph
Basses: Kelly Cossey, Michael Garrepy, Nathan Halbur, Harrison Hintszsche, Edmund Milly, Andrew Padgett, Thou Yang
Organ: John Black

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The Concert Op. 21, a masterly work on the borderline between chamber music and orchestra, is carried by Pierre Fouchenneret’s magnetic violin and David Violi’s colorful piano. I Giardini also deliver a previously unpublished version of Poème Op. 25, reworked for violin, piano and string quartet.

The album closes with Pauline Buet’s equally sensitive retelling of Chausson and Barbara’s Temps des/du lilas, using cello in the former and singing voice in the latter. Barbara’s song and Chausson’s melody stand as a simple, timeless tribute to the magic of past moments and the fragility of human existence.

Le temps des lilas is I Giardini’s first full-length album for Pentatone, following an already rich discography: Nuits (awarded the prestigious Diapason d’Or), Bleu, Shaw and Fauré, an EP released with Pentatone in 2024.

Pierre Fouchenneret
I Giardini
Pauline Buet
David Violi
Shuichi Okada
Camille Fonteneau
Violaine Despeyroux

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