Choosing from the “musical flowers” (Musikalisches Blumen-Büschlein, 1696) collected by Fischer, Élisabeth Joyé has made up a bouquet showing off the melodic variety and contrapuntal richness of a now neglected composer who was much esteemed by his famous contemporaries J. S. Bach and G. F. Handel: German and French flowers cover the slopes of this musical Parnassus (Musikalischer Parnassus, 1736), dominated here by the muse Urania, the Celestial.
"Sélection de France Musique" award
"Elisabeth Joyé is a fine player and under her hands we get fully idiomatic interpretations of both harpsichord and organ works." Johan van Veen MusicWeb
"(Elisabeth Joyé) manages the contrast between the stricter and more improvised forms very well and proves an excellent advocate for Fischer’s music." Noel O'Regan Early Music Review
"Un disco prezioso per scopire un musicista dimenticato" Ferruccio Nuzzo Grey Panthers
"Nuestra sección de discografía de música clásica recomendable os presenta hoy un disco excepcional." Clasica2
You can order the CD now benefiting of a discounted price (15€), free shipment to UE an Switzerland.
This record is a journey into the German School of viola da gamba in the early 18th century: as if seen through the prism of a kaleidoscope, it unfurls over a period of 24 years, from 1705 to 1729. This program is a freeze frame: a landscape of the diverse influences which have influenced the viola da gamba repertoire, be they English, French or Italian, with a detour through the extraordinary blossoming of the German organ School and its stylus fantasticus. Europe had already been born.
The ensemble Marguerite-Louise, directed by Gaétan Jarry
"This beautifully performed, recorded and presented L’Encelade release makes a splendid addition to the ever-growing discography of Marc-Antoine Charpentier." Michael Cookson Musicweb
"Ein perfektes Debüt eines vielversprechenden Ensembles." Prospero - Forum für Alte Musik
".. the disc (…) features an ensemble which communicates a genuine empathy with Charpentier’s music." Shirley Thompson The Consort
"Ho captures the spirit of the music in these idiomatic, stylish and rhythmically potent performances. He employs an imaginative range of registrations in the works played on the organ, adding colour and diversity. (...) Ho plays with commitment, resourcefulness, imaginative flair and rhythmic vitality. These are convincing interpretations, and set the bar high." Stephen Greenbank - MusicWeb
"Jean-Luc Ho’s playing is compelling and committed. (...)He successfully seeks out the various mood of the wide variety of pieces, and plays with a nicely relaxed sense of pulse and momentum." Andrew Benson-Wilson - Early Music Reviews
The Ensemble Baroque Atlantique’s make their recording debut with a programme devoted to specially written new versions of Johann Sebastian Bach’s Sinfonias and Concerti.
"The playing (...) is dynamic and elegant, the soloists never failing to maintain a light stroke even in the most vigorous passages. This is a highly recommended CD for any Bach enthousiasts who may think there isn't anything else new to be recorded". Ibrahim Aziz The Consort
An exploration of the first pieces for keyboard instruments published in early sixteenth century Paris.
" Anyway 'bravo' to all concerned." Gary Higginson - MusicWeb
"This is a most compelling disc which fully reveals the fascinating musical personality of Carl Philipp Emanuel Bach." MusicWeb - Johan van Veen
" (...) all in all, quite a range of colours, which is exploited to the full by such a virtuoso as Aline Zylberajch, who is clearly utterly in harmony with Bach's flights of fancy." BC - Early Music Review
"I have been absolutely blown away by this recording - not only does it answers my questions about the tangentenfluegel, but it also contains some of the finest performances of CPE Bach that I have heard" Douglas Hollick -The Consort
Muse d'or "Une réalisation exemplaire, et un incontournable pour toute discothèque vénitienne qui se respecte" Viet-Ling Nguyen, Muse Baroque, accès à l'article
«Disciple d’Hélène Schmitt, Guillaume Rebinguet-Sudre a hérité d’elle une sonorité somptueuse et un art admirable de l’ornementation. Se jouant avec une apparente facilité des allegros, il insuffle aux mouvements lents une intense dimension poétique. (..) Belle réussite et programme intéressant où l'on retrouve la Sonate en si bémoldédiée à Pisendel et celle en la mineur que Bach appréciait.» Philippe Ramin, Diapason
"there is much to admire in his Couperin with some sensitive playing in the Sarabande, Gavotte and in the final La Morinete." Noel O'Regan - Early Music Review
" (Zimmer) makes good use of its variety of colours with some sensitive registration.A good introduction to the late stages of French harpsichord music, played with a sense of fun and on its own terms." Noel O'Regan - Early Music Review
"From this collection, Zimmer extracts her own selection of concert pieces, competently performed with sharp contrasts, a certain youthfulness and expressive gestures on the beautiful French double-manual harpsichord by Martine Argellies, a replica of a mid-18th-century Goujon judiciously tuned to the d’Alembert-Rousseau temperament. The three Royer pieces at the end are a sort of encore, and will surely win Zimmer more fans." David Chung - Oxford Journals - Early Music