With his Concerto 1700, violinist Daniel Pinteño continues his exploration of 18th-century Spanish musical heritage. His latest recording of Gaetano Brunetti’s “String Quartets, Op. 3” reveals a court composer whose writing is both refined and full of wit.
With “JANUA”, the ensemble Irini and its director Lila Hajosi explore 15th-century vocal repertoires through a program built around Guillaume Dufay and Byzantine chant. An album that is both scholarly and sensory, inviting listeners to step outside conventional frameworks and open their ears to other forms of perception.
Concerto Soave brings together the two Venite, exultemus settings by Campra and Bernier, highlighting the techniques that shaped the French motet at the dawn of the eighteenth century: Italianate writing, rhetorical contrasts, text-painting, and an interplay of forces that reveals each composer’s unique voice.
With the 18 Leipzig Chorales, Bach brings together, at the end of his life, a fully realized reflection on the organ, the chorale, and counterpoint. On the Thomas organ in Namur, Martin Gester approaches these pages as a space for sonic invention, playing with styles, colours, and balances to create a dialogue between learned elaboration and expressive intensity.
With his ensemble Près de votre oreille (“Near your ear“), gamba player Robin Pharo devotes his new album Lighten mine eies to the singular world of William Lawes. Through elegies, psalms, and Harp Consorts, he explores the English composer’s daring dissonances and the shifting boundary between restitution, re-creation, and memory, in a project where research […]
With Natale Veneziano, Giuseppe Maletto and the choir of Il Pomo d’Oro rekindle the splendour of Venetian Christmas music, balancing liturgical fervour with musical daring. A luminous journey into the worlds of Gabrieli, Schütz, Monteverdi, and Cavalli, revealing the boundless creativity of Baroque Venice.
