[HM 신보 이자벨 파우스트 외 1 ]

HMC90223031   모차르트: 바이올린 협주곡 전집 (2CD) ★★★★★

수록곡 – 바이올린 협주곡 1번 K.207/ 론도 K.269/ 바이올린 협주곡 2번 K.211/ 바이올린 협주곡 K.216a/ 론도 K.373/ 바이올린 협주곡 4번 K.218/ 아다지오 K.261/ 바이올린 협주곡 5번 K.219

*카덴자: 안드레아스 슈타이어 작곡

연주: 이자벨 파우스트(바이올린, 스트라디바리우스 ‘잠자는 숲 속의 미녀’ 거트현 사용), 일 자르디노 아르모니코, 지오반니 안토니니(지휘)


*클래시카 쇼크, 프랑스 뮈지크 초이스, 프레스토 선정 ‘금 주의 음반’, The New York Times Best Classical Music Recordings of 2016, The Times   100 Best Records of the year


The Guardian

20th October 2016


“Antonini conducts, but the music seems to be led from everywhere. Meanwhile, Faust’s touch is light, finespun, pristine – often her bow hardly glosses the strings, but there’s proper robustness to balance in the chunky, sparky cadenzas.”

Presto Classical

David Smith

28th October 2016

“Faust and Il Giardino Armonico bring out the shades of colour in the music and revelling in the characteristic phrases, but never forcing the issue. It goes without saying that Faust's tone is just as sweet here as in her other recordings, and she puts just the right amount of playful rubato into the cadenzas without straying into self-indulgence.”

Sunday Times

6th November 2016

“Faust’s spirited tempi in the outer movements of K218 and K219 bring this music as vividly to life as any recording I know, and her sweet singing tone in the andantes and adagio give full expressive value. Lively accompaniments from the Italians.”

Record Review

5th November 2016

“The most critical thing is the match between Isabelle Faust and her gut strung Strad and the orchestra; they fit beautifully, she seems almost airborne at times, so light and airy is the sound … everything is so well balanced, soloist with ensemble, cadenzas with original Mozart, the speeds and rhythmic drive of the outer movements with the delicacy and fine sprung lyricism of Mozart’s middle movements.”

Financial Times

18th November 2016

“Faust fields a delicate palette of colours, barely touching the strings at times, so airy is her playing. The freedoms she allows herself are well judged and matched by Il Giardino Armonico, conducted by Giovanni Antonini.”

Gramophone Magazine

December 2016

“These wonderful performances have the air of chamber music, of close listening between soloist, band and director. Faust isn’t spotlit…but seems part of the ensemble, her sound growing out of the corporate entity to glitter, coax, snarl and soar as required…[a] thought-provoking and eminently enjoyable cycle”

Classical Ear

2nd December 2016

“Youthful works mainly written between the ages of 17 and 20, but of a maturity that belies those years. Isabelle Faust and Giovanni Antonini are alive to their changing characters, sensing a spirit both impetuous and profound … a richly emotional experience”



HMC902202   프로코피예프: 피아노 소나타 2번, 6번, 8번   ★★★★★

연주: 알렉산더 멜니코프(피아노)

*프랑스 뮈지크, 클래시카 쇼크

HMC905274   아르보 패르트: 캐논 포카야넨

연주: 카펠라 암스테르담, 다니엘 로이스(지휘)

*프랑스 뮈지크 초이스

HMC902253   이탈리아의 선물   ★★★★★

수록곡 – 삼마르티니, 하세, 도메니코, 칼다라, 피로렌차, 몬타나리, 피아니

연주: 모리스 슈테거(리코더, 지휘), 앙상블[나디아 츠비너(바이올린), 마우로 발리(첼로)외]


HMU807659   쿠프랭: 르송 드 테네브르 [SACD]

수록곡 – 쿠프랭: 제 1 르송 드 테네브르/ 브로사르: 트리오 소나타 E단조/ 쿠프랭: 제 2 르송 드 테네브르/ 브로사르: 트리오 소나타 A단조/ 쿠프랭: 제 3 르송 드 테네브르/ 브로사르: 스타바트 마테르 Op.8

연주: 루시 크로우(소프라노), 엘리자베스 왓츠(소프라노), 라 누오바 무지카, 알렉스 맥커트니(테오르보), 조나단 리스(비올라 다 감바), 데이비드 베이츠(오르간, 지휘)


The Guardian

8th September 2016

“Two of the UK’s finest early music voices divvy up Les Leçons de Ténèbres…Crowe is ecstatic and golden, ravishing in her upper flourishes…Watts is grainier, softer-edged, earthier. When they sing together in the third lesson, the combination is breathtaking”

Record Review

24th September 2016

“such an intelligent choice of voices…both with a lovely purity and clarity, both ornamenting effectively, with Crowe’s more tightly focussed sound contrasting very well with Watt’s more voluptuous tone and vibrato.”

The Classical Reviewer

26th September 2016

“Bates directs some very fine performances here. Both instrumentalists and voices of La Nuova Musica are terrific as are the two soloists in the Trois Leçons de Tenebres, Lucy Crowe and Elizabeth Watts. The excellent SACD recording is set in a lovely acoustic with a real sense of presence and detail.”

Gramophone Magazine

October 2016

“a dramatic, well-paced performance that shows Brossard’s slender if learned talent to best effect. Unlike Schneebeli, who employed boy sopranos and Old French pronunciation of the Latin texts, Bates produces a more modern, full-bodied sound, and it is the grands choeurs rather than the petits choeurs that most impress.”

BBC Music Magazine





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