With “Bestiario”, Les Impertinences plunges into a free, raw, and virtuosic seventeenth century, where instruments imitate animals, bodies, cries, dance, and the tumult of the world. Around Biber, Farina, Uccellini, and Du Mont, Venezuelan violinist and director Pablo Agudo López embraces an unruly baroque style, fueled by improvisation and Latin American traditions.
With “Éclats et derniers feux”, harpsichordist Loris Barrucand returns to the French clavecin master Jacques Duphly, a discreet composer of the Enlightenment whose music has accompanied him since his student years. Conceived as a “shattered mirror”, this anthology reveals the many facets of an art at once refined, brilliant and tender, at the moment when the harpsichord, soon to be supplanted by the pianoforte, casts its final glow.
With her complete recording of Sieur Demachy’s “Pièces de violle”, Flore Seube gives voice once again to a mysterious figure of the Grand Siècle. The result of ten years of research and an intimate engagement with this repertoire, this recording reveals a sophisticated, lively, and refined style of viol music that balances textual fidelity, French sensibility, and the art of polyphony.
From Spain’s Golden Age to China’s Forbidden City, El clave del Emperador retraces the singular destiny of Diego de Pantoja, a Jesuit, musician, and mediator between two worlds. With Íliber Ensemble and Todos los Tonos y Ayres, the recording brings together harpsichord, Chinese instruments, and learned traditions to transform historical inquiry into a true sonic journey.
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.
From statue to living body: based on the myth of Pygmalion, Camille Delaforge brings together two 18th-century French scores, Rameau’s ballet act and an unpublished cantatille by Antoine Bailleux, a contemporary composer who has fallen into oblivion. Performed by Mathias Vidal, this recording uses music to explore the very act of creation.
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.
