April 2019

April 2019
The best new classical albums: April 2019

Friday, April 19, 2019

The best new classical albums: April 2019























Recording of the Month

Musiques du silence – Federico Mompou, Maurice Ravel, Erik Satie, Henri Dutilleux, Alexander Scriabin, Frédéric Chopin, Toru Takemitsu, Claude Debussy, Enrique Granados

Guillaume Coppola, piano

Recorded 2018
Released on April 5, 2019 by Eloquentia

Builded around works by the pianist and composer Federico Mompou, this programme invites other composers who tried to express the return to basics, a stylistic purity, a form of asceticism and mysticism. The works are linked through the ages and styles, resonate with each other, and that creates a continuous journey renewed form of recital, as a work in itself. An incredible sound experience, almost hypnotic.

After five original and unanimously acclaimed CDs, Guillaume Coppola has now "confirmed his prominent place at the heart of the young generation" (Diapason). In addition to a verve and an expressive depth that make each of his performances keenly anticipated, his authenticity and simplicity have won the hearts of music-lovers.

His eclectic and eloquent discography – encompassing Liszt (2009), Granados (2012), Poulenc (2013, with baritone Marc Mauillon), Schubert (2014) and Brahms-Schubert (2016, four hands with Hervé Billaut) – has been enthusiastically welcomed by the world's press, with every release garnering the highest recognition: Diapason d'Or, ffff from Télérama, Selection from Le Monde, Les Echos, the Académie Charles Cros, five stars from BBC Music Magazine, "Maestro" from Pianiste, four stars from Classica, four stars from Pianist and so on.

To date, he has performed in some 20 countries, appearing at prestigious European venues such as the Amsterdam Concertgebouw, the Prague Rudolfinum, the Liège Philharmonie, the Reduta in Bratislava and the Liepaja International Piano Stars Festival, as well as in Asia and South America. In France too, of course: at the Musée d'Orsay, the Salle Pleyel, the Piano Festival of La Roque-d'Anthéron, the Folle Journée de Nantes, the Festival de l'Orangerie de Sceaux, Piano aux Jacobins, the Paris Chopin Festival, Solistes aux Serres d'Auteuil, the Radio France Montpellier Festival, the Lille Piano Festival, the Rendez-vous de Rochebonne, the Nohant Festival, the Auditorium de Dijon, the Auditorium de Bordeaux, MC2 Grenoble, the Dinard Festival and more.

In addition to solo recitals and concertos – the latter with the Orchestre National de Montpellier, the Saint-Etienne Symphony Orchestra, the Orchestre Victor Hugo Franche-Comté and the Orchestre Symphonique de l'Opéra de Toulon, under the baton of Arie van Beek, Enrique Mazzola, Laurent Campellone and Maxime Tortelier, among others – chamber music allows him to engage in fruitful collaboration with the violinists Régis Pasquier, Patrice Fontanarosa and Nicolas Dautricourt, the cellist Antoine Pierlot, the Voce, Parisii, Debussy and Alfama String Quartets.

While he occasionally plays four-hands and two-piano repertoire with Bruno Rigutto or David Bismuth, he has for several years performed as a duo with Hervé Billaut. Invited to accompany the baritone Marc Mauillon in a vocal recital, he also appears with the Latvian National Choir, Spirito/Britten Choir, the Bordeaux Opera Chorus under the direction of Māris Sirmais, Nicole Corti, Salvatore Caputo.

Guillaume is a generous musician who takes every opportunity to perform for audiences in prisons, hospitals and retirement homes. He participates in productions combining words and music, along with Marie-Christine Barrault, Didier Sandre, François Castang and Marie-Sophie Ferdane. His collaborations with composers have included giving the premieres of works by Marc Monnet (Paris, 2015), Isabel Pires (who dedicated a piece to him), Gao Ping, Steven Stucky and Sylvain Griotto.

Guillaume studied at the Conservatoire National Supérieur de Musique de Paris, in the class of Bruno Rigutto. Having taken first prizes in piano and chamber music, he proceeded to hone his skills in numerous masterclasses in France and abroad, with Jean-Claude Pennetier, Dmitri Bashkirov, Leon Fleisher and others. At the outset of his career, he received valuable support from sources such as the Radio France Génération Jeunes Interprètes programme, the Lions Clubs, the Cziffra and Bourgeois Foundations, and internationally from the Prix Déclic of the Institut Français and the New Masters on Tour series.

Next season, Guillaume will be performing in recital with his next CD Silence Music, a new 4 hands program with Hervé Billaut (Dreams from Spain), concerts with Spirito, will start a partnership with violist Arnaud Thorette and add Liszt's first concerto to his repertory.

Source: arts-scene.be


Cello & Orchestra – Dmitri Shostakovich, Mieczysław Weinberg, Vladimir Kobekin

Anastasia Kobekina, cello

Berner Symphonieorchester
Conductor: Kevin John Edusei

Recorded September 24-27, 2018 at Diaconis-Kirche, Bern, Switzerland
Released on April 5, 2019 by Claves Records

This recording almost slipped by unnoticed. It opens with a neither here nor there performance of the first Shostakovich concerto, neither rippled with black comedy the way Slava Rostropovich played it nor invested with loving compassion like the mellifluous Heinrich Schiff. The Berlin-based soloist, Anastasia Kobekina, gives a good account of the piece and the Berne Symphony play well enough under the direction of Kevin John Edusei.

What follows is simply gripping. The 1956 Weinberg Fantasy, of which there appear to be only two extant recordings, has an arresting opening melody and the best atmospherics I can think of outside the moody-blues song book of Jacques Brel. Looking at the orchestration, I see that Weinberg has thrown in three saxophones, tenor, soprano and bass, and a Sarrusophone, which does exactly what its name suggests. And a Hammond organ, to leave you with a sense of unfulfilled longing.

The middle movements are chirpier but the ending goes back to Adagio for the opening theme, by which point you'll be reaching for the fifth tissue. I can't tell you much more about the work since the Claves booklet writes only about the performers and the Internet has yet to catch up on the Weinberg centenary wave. But rest assured that this is an indispensable addition to the cello repertoire and the main theme is one that you'll think you have known all life long.

I don't care what happens in the next eight months. This is my record of the year for 2019.

Source: Norman Lebrecht (myscena.org)


Benedikt Kristjánsson – Drang in die Ferne

Benedikt Kristjánsson, tenor
Tillmann Höfs, horn
Alexander Schmalcz, piano

Recorded August 16-18, 2018 at Teldex, Berlin, Germany
Released on April 5, 2019 by Genuin

It sounds like being in a dreamland when Icelandic tenor Benedikt Kristjánsson sings folksongs from his homeland. For his first Genuin album, the first-prize winner of the Greifswald International Singing Competition and Audience Award winner of the Leipzig Bach Competition has teamed up with the sought-after accompanist Alexander Schmalcz. Schmalcz congenially tunes into in Kristjánsson's nebulous landscapes when the singer juxtaposes the old melodies, sung a cappella, with Schubert's Romanticism. A different language, a different time – but the same feelings and human destinies! Full of deep earnestness, a fine sense of sound and artistic unanimity: a moving duo!

Source: prestomusic.com


Seconda Donna – George Frideric Handel, Antonio Vivaldi

Julia Böhme, contralto

La Folia Barockorchester
Conductor: Robin Peter Müller

Recorded April 2015 at Palais im Groben Garten, Dresden, Germany
Released on April 5, 2019 by Accent

In all other respects, the primadonnas, the title figures and central heroines, stand at the centre of the spotlight. Handel and Vivaldi also had a special affection for the "women in the shadows" – for the queens, the servants or the spurned lovers, mostly sung in female alto voice. They were given breathtakingly beautiful arias: full of lament, sensuality, vengefulness or fury.

In recent years, the German contralto Julia Böhme has developed into one of the most in-demand performers of 17th- and 18th-century music. Her vocal elegance and expressiveness, historically sourced style and unique timbre are just as characteristic of her as a performer as her dramatic intensity and versatility. Concerts and opera productions have taken her to the Dresden Music Festival, the Vienna Musikverein, Prague, Leipzig, Halle, Amsterdam, Brussels, Bruges, Versailles, the Laieszhalle Hamburg and the Leipzig Gewandhaus.

Source: europadisc.co.uk


Franz Schubert: Winterreise

(Adaptation for bass-baritone, clarinet, trombone, accordion, violin, piano, and hurdy-gurdy)

Philippe Sly, bass-baritone, hurdy-gurdy

Le Chimera Project:
Félix de l'Étoile, clarinet
Karine Gordon, trombone
Samuel Carrier, accordion, piano
Jonathan Millette, violin
Roy Rallo, stage director
Doey Lüthi, designer

Recorded November 2018 at Église Saint-Joseph in Rivière-des-Prairies, Québec, Canada
Released on March 29, 2019 by Analekta

Philippe Sly and Le Chimera Project revisit Schubert's Winterreise, and offer a captivating version of this masterpiece. From Schubert's score, only the vocal part remains intact and bass-baritone Philippe Sly's reading of it is touching and impressive. The piano part is replaced by the Chimera Project, an ensemble that comprises of trombone, violin, accordion, clarinet and a hurdy-gurdy.

This delightful instrumentation brings this great work into musical territories that are both familiar and foreign by giving it Klezmer / Roma colours. At once joyous and filled with longing, this form of music is associated with both celebration and a collaborative Roma spirit, making it an ideal genre to explore and highlight the intimate relationship between Schubert’s devastating music and Müller's poetic vision.

French-Canadian bass-baritone Philippe Sly has gained international acclaim for his "beautiful, blooming tone and magnetic stage presence" (San Francisco Chronicle). Mr Sly was the first prize winner of the prestigious Concours Musical International de Montréal and a grand prize winner Metropolitan Opera National Council Auditions singing the varied repertoire of Mozart, Bach, Handel, Stravinsky, and Wagner. Recently, he was awarded Concert of the Year in Romantic, Post-Romantic, and Impressionist Music at the 16th annual ceremony of the Prix Opus in Québec.

Source: arsenalmontreal.com


Influences – Charles Ives, Béla Bartók, Olivier Messiaen, Johann Sebastian Bach

Tamara Stefanovich, piano

Recorded June 21-24, 2018 at the Teldex Studio, Berlin
Released on March 15, 2019 by Pentatone

On her first Pentatone album, pianist Tamara Stefanovich presents a highly personal selection of solo works by Bach, Bartók, Ives and Messiaen. Influences shows how these extraordinarily original and idiosyncratic composers let themselves be inspired by the exterior world, thereby demonstrating how authenticity comes from looking outside as well as inside. The repertoire spans from Bach's embrace of Italian musical elements in his Aria variata alla maniera italiana, Bartók's incorporation of folk elements in his Improvisations on Hungarian Peasant Songs, and Messiaen's use of Hindu rhythms in Cantéyodjayâ to the collage of marching bands, sounds of trains and machinery, church hymns, ragtime and blues in Ives' first piano sonata. In all cases, the exterior influences lead to deeply original and personal sonic galaxies. In that respect, the pieces presented here underline how identity results from a constant dialogue with our surroundings, ever changing and enriching our perceptions of ourselves and the world.

Source: pentatonemusic.com


Johann Sebastian Bach: St Mark Passion (Markus Passion), BWV 247 – Picander's libretto, 1744 version

Complete revision by Jordi Savall on the basis of research, reconstructions and adaptations for the choruses and recitatives proposed by Alexander Grychtolik.

David Szigetvári, tenor (Evangelist)
Konstantin Wolff, bass (Jesus)
Marta Mathéu, soprano
Raffaele Pé, countertenor
Reinoud Van Mechelen, tenor

Veus - Cor Infantil Amics de la Unió
La Capella Reial de Catalunya
Le Concert des Nations

Conductor: Jordi Savall

Recorded March 26, 2018 at La Chapelle Royale du Château de Versailles
Released on April 5, 2019 by Alia Vox

The discovery in St Petersburg of a full libretto from the second performance in 1744 of Bach's missing Passion set the sleuths to work. And here's the result: Following this revised edition, a full-length creation emerges, the work of Jordi Savall based on research by German harpsichordist and musicologist Alexander Grychtolik. The music, all by Bach, has been borrowed from a host of different places, including the two surviving Passions and some cantatas. Savall's lively musical instincts and his flair not just for reconstruction, but also for imbuing it with vigorous life make this mandatory listening, especially given the quality of the performance.

Source: itunes.apple.com


The existence of a third Passion by Bach based on the Gospel of St Mark had long been known. Numerous studies carried out from the second half of the 20th century by specialist musicologists and musicians confirmed that on Good Friday, 1731, Bach presented this Passion set to a text by Picander, which the latter published one year later at the same time as his third volume of poetry. In 2009, the existence of this Passion was fully confirmed by the discovery at St Petersburg of a later version of the libretto used for a new performance of the work, which took place in 1744. Compared with the 1732 libretto, it contains a number of modifications to the texts, as well as a different ordering of some chorales and arias and the addition of two new arias. Thanks to the new version, we have a very clear idea of the form and content of this third Passion by Bach.

Source: alia-vox.com


Created in Leipzig in March 1731 and then revised for the Holy Week of 1744, on a text by Christian Friedrich Henrici, aka Picander, the St Mark Passion was composed by Bach using existing works.

The autograph score is lost but recent musicological research shows that some pieces like the Funeral Ode BWV 198 or an aria from the cantata BWV 54 had been recycled.

Every performance is thus a reconstruction by the performing artist. Jordi Savall offers his own vision, made of subtle chiaroscuro, suffused with serenity and meditation.

Source: fishfinemusic.com.au


Gustav Mahler: Das Lied von der Erde / The Song of the Earth

Anna Larsson, alto
Stuart Skelton, tenor

Düsseldorfer Symphoniker
Conductor: Adam Fischer

Recorded January 11-15, 2018 at Tonhalle Düsseldorf, Germany
Released on March 29, 2019 by CAvi-music

...From the onset, the music in Das Lied von der Erde is permeated by a special mood. Even the texts, based on Far Eastern poetry, are more mood than content. Mahler repeatedly abandons the words' meaning, but the mood remains. The music implies so much more than the words! For instance, the third poem evokes the reflection of a mirror image in water, but I don't see those images anywhere in the music. Mahler is not concerned with helping us understand every syllable. If the voice, in its anguish, is drowned out by the orchestra, that is what the music is trying to achieve. Throughout a great number of passages, "beautiful tone" is not what is important. To the contrary. In Das Lied von der Erde, the singers are likewise required to declaim, cry, and shriek. I think that even those concertgoers who have no command of the German language have no problem in gaining a quite precise grasp of what is going on...

...It is somewhat surprising that Das Lied von der Erde, premièred by Bruno Walter after Mahler's death, went on to become one of the composer's great posthumous successes and gained immediate popularity. When the Mahler revival took place in the 1960s, only three works were performed on a regular basis, and Das Lied von der Erde was one of them. But already the fact that Mahler was not able to conduct the premiere himself poses a particular, new challenge to us today. In the case of all previous symphonies, he had the opportunity to make corrections after the first performance. But we don't have such marks here. We need to bear in mind that this is the first and only version we will ever have. It is astounding to imagine that Mahler was only able to hear Das Lied von der Erde and the Ninth Symphony with the help of his inner ear. Under normal circumstances, a tactician and technician such as Mahler would certainly have made some modifications after rehearsing them with an orchestra. That is the open question mark that remains. I am so sorry that he bore such secrets with him into his grave.

Source: Adam Fischer (CD Booklet)


Johann Sebastian Bach: Harpsichord Concertos vol. 2

Fabio Bonizzoni, harpsichord

La Risonanza

Recorded September 21-25, 2018 at Pieve di San Donato in Polenta, Forli, Italy
Released on April 5, 2019 by Challenge Classics

Here is the follow-up to the critically acclaimed first volume of Bach's Harpsichord Concertos by Fabio Bonizzoni and his group La Risonanza.

This second volume includes a more varied range of works as it starts with the most famous Brandenburg Fifth, which is the first ever harpsichord concert. After the BWV 1054, we have the rather rare BWV 1057,which is the harpsichord version of the Brandenburg Fourth. To end Bonizzoni's survey of all Bach's harpsichord concertos, we find the famous and beloved Triple concerto, with violin and flute.

Source: challengerecords.com


Reason in Madness – Johannes Brahms, Robert Schumann, Richard Strauss, Charles Koechlin, Claude Debussy, Henri Duparc, Hugo Wolf, Franz Schubert, Camille Saint-Saëns, Ernest Chausson, Francis Poulenc

Carolyn Sampson, soprano
Joseph Middleton, piano

Recorded January 2018 at Potton Hall, Westleton, Suffolk, England
Released on April 5, 2019 by BIS

Throughout history men have feared madwomen, burning them as witches, confining them in asylums and subjecting them to psychoanalysis – yet, they have also been fascinated, unable to resist fantasizing about them. For their new disc, Carolyn Sampson and Joseph Middleton have created a programme that explores the responses of a variety of composers to women whose stories have left them vulnerable and exposed. As a motto they have chosen an aphorism by Nietzsche: "There is always some madness in love, but there is also always some reason in madness".

Brahms' Ophelia Songs, composed for a stage production of Hamlet, appear next to those by Richard Strauss and Chausson, while Ophelia's death is described by both Schumann (in Herzeleid) and Saint-Saëns. Goethe's mysterious and traumatized Mignon appears in settings by Hugo Wolf as well as Duparc, while his ill-used Gretchen grieves by her spinning-wheel in Schubert's matchless setting. Sadness and madness tip into witchery and unbridled eroticism with Pierre Louÿs's poems about Bilitis, set by Koechlin and Debussy. Sampson and Middleton end their recital as it began, with a suicide by drowning: in Poulenc's monologue La Dame de Monte-Carlo, the elderly female protagonist has been unlucky at the gambling tables and decides to throw herself into the sea.

Source: bis.se


Joseph Haydn: Die sieben letzten Worte unseres Erlösers am Kreuze / Les Sept Dernières Paroles du Christ en croix / The Seven Last Words of Christ on the Cross

Ensemble Resonanz
Conductor: Riccardo Minasi

Recorded July 2018 at Hauptkirche St Nikolai, Hamburg, Germany
Released on March 22, 2019 by Harmonia mundi

Following a disc of cello concertos and symphonies by CPE Bach (Diapason d'Or, ffff Télérama), the musicians of the Ensemble Resonanz continue their very personal exploration of Eighteenth Century orchestral music.

For several years now, under the direction of inspired conductor Maestro Riccardo Minasi, the ensemble has taken up the challenge of playing instruments with a "modern" setup (violins, violas and basses with metal strings) with complete mastery of historically informed performance practice.

Forty years after what has been called "the Baroque revolution", it's a pleasure to rediscover these nine orchestral movements literally inhabited by the divine words of Christ on the cross – and displaying that rhetorical skill of which Joseph Haydn was a peerless exponent.

Source: prestomusic.com


Private Passions – Arnold Bax, Harriet Cohen

Mark Bebbington, piano

Recorded September 26-27, 2017 at CBSO Centre, Birmingham
Released on February 1, 2019 by SOMM Recordings

"Truly a remarkable pianist" — The Times

Pianist Mark Bebbington's long association with SOMM Recordings has produced a remarkable array of recordings championing newly discovered British music.

Pairing the piano music of Arnold Bax and Harriet Cohen, his latest disc includes eight first recordings and promises fresh insights into the music of a revered English master and revelatory performances of an overlooked composer who subsequently found fame as a pianist.

The result, Private Passions, is an illuminating dialogue between one of the pre-eminent British composers of the last century and his muse who together shared a 42-year-long love affair.

The eight first recordings here include Bax's vitally contrasted Four Pieces from 1947 and Cohen's evocatively coloured Russian Impressions – the first documented public performance of which Bebbington gave in London in 2015 – a suite dating from around 1913 that variously hints at the influence of Mussorgsky, Debussy and Glinka.

Heard here in its original version, Bax's E flat Piano Sonata of 1921 (which prompted the composer's First Symphony) is as vivid and rich a statement as he ever made. Completing the disc is Bax's In the Night (Passacaglia), an evocative piece that owes much to the intimacy of his relationship with Cohen, and Legend, boasting music of grandeur and poetry wholly suited to its title.

Mark Bebbington's previous release with SOMM featured piano concertos by Grieg and Delius (SOMMCD 269) – "A Grieg concerto the equal of any I have heard, the most enjoyable version of the Delius concerto I know and a novelty world premiere to boot. All round excellence" (MusicWeb International) – and was a CD of the Week for The Times, Classic FM and Mail on Sunday.

Source: somm-recordings.com


George Frideric Handel: Joseph and his Brethren, HWV 59

Diana Moore, mezzo-soprano
Abigail Levis, mezzo-soprano
Philip Cutlip, baritone
Abigail Levis, mezzo-soprano
Sherezade Panthaki, soprano
Nicholas Phan, tenor
Philip Cutlip, baritone
Gabrielle Haigh, soprano
Jonathan Smucker, tenor

Philharmonia Baroque Orchestra & Chorale
Music director and conductor: Nicholas McGegan

Recorded December 18-20, 2017 at the Scoring Stage, Skywalker Sound, Nicasio, CA
Released on April 5, 2019 by Philharmonia Baroque Productions

Nicholas McGegan has been called a "Handel master" by The San Francisco Chronicle and is considered a foremost Handel scholar around the world. So who better to present the rarely performed Joseph and his Brethren than Nic McGegan and Philharmonia Baroque Orchestra & Chorale. Handel's unfairly neglected – yet splendid – oratorio depicts the grandeur of Pharaoh's court in an intriguing plot of familial conflict and mistaken identity. With a cast of favorites including Diana Moore and Nicholas Phan, Nicholas McGegan and his historically informed Orchestra and Chorale present a lively studio recording of the program that delighted audiences and critics alike.

"...a beautifully rendered collection of arias and choruses done with characteristic zeal under the leadership of Music Director Nicholas McGegan." — Joshua Kosman, San Francisco Chronicle

"His [McGegan's] beats – springy and upward-moving – animate his stellar orchestra and chorale..." — Paul Hertelendy, ARTSSF

"...conductor Nicholas McGegan led his period-instrument orchestra in a rhythmically pulsating score..." — James MacBean, The Berkeley Daily Planet

"McGegan's sense of pacing was masterful..." — The Newsletter of the American Handel Society

Among Handel's large-scale works, Joseph and his Brethren is one of the most neglected. This recording is only the second commercial issue of the oratorio, and the first in over twenty years. Yet in Handel's lifetime, the work proved rather popular, with a warm initial reception and revivals for decades to come. Joseph's eighteenth-century popularity was attested to by the simple fact that Handel programmed the work season after season.

This release was recorded at the Scoring Stage, Skywalker Sound, Nicasio, CA, December 18-20, 2017. It marks the Orchestra's 11th recording under its Philharmonia Baroque Productions label and adds to its growing list of rare recordings.

Source: philharmonia.org


Johann Sebastian Bach: Sonatas for violin and keyboard

Renaud Capuçon, violin
David Fray, piano

Recorded December 17-21, 2017 at the Notre-Dame-du-Liban, Paris, France
Released on March 27, 2019 by Parlophone Records

Pianist David Fray already enjoys a fine reputation as a stylish Bach player: elegant, focused and alive to the rich fantasy that underlies so much of the music. Here, joined by Renaud Capuçon, he plays four of the six sonatas for violin and keyboard with a winning restraint and a songful beauty. Fray is wonderful at the fast-flowing counterpoint, his fingers skipping over the keys and making magic happen. Yet in a movement such as the "Adagio ma non tanto" of the Third Sonata, these two players find a stillness and poise that melts the heart. Heavenly music making.

Source: itunes.apple.com


Franz Schubert: String Quintet in C major & String Quartet in D minor "Death and the Maiden"

Quartetto di Cremona:
Cristiano Gualco, violin (Stradivarius "Paganini", 1727)
Paolo Andreoli, violin (Stradivarius "Paganini", 1680)
Simone Gramaglia, viola (Stradivarius "Paganini", 1731)
Giovanni Scaglione, cello (Stradivarius "Paganini", 1736)

Eckart Runge, cello (Hieronymus and Antonio Amati, Cremona ca. 1595)

Recorded September 18-22, 2017 at the Leibniz Saal, Hannover Congress Centrum
Released on April 5, 2019 by Audite

The Quartetto di Cremona present Schubert's greatest legacy to chamber music, recording on the Paganini Quartet's Stradivarius instruments for the first time. They are joined by Eckart Runge on a rare Hieronymus & Antonio Amati cello.

Quartetto di Cremona's First Recording on the Paganini Quartet: The new album offers the chance to listen simultaneously to four Stradivari instruments and an Amati cello: The Quartetto di Cremona plays the Stradivarius Paganini Quartet, one of the few quartet "sets" completed by Antonio Stradivari and once owned by the legendary violinist Niccolò Paganini. Eckart Runge plays a rare cello made by Hieronymus and Antonio Amati in their Cremonese atelier.

After completing the recording cycle of Beethoven's String Quartets, the Quartetto di Cremona's new double album is entirely dedicated to Franz Schubert, presenting two of his latest masterpieces: the String Quartet Death and the Maiden and the String Quintet in C major, with cellist Eckart Runge.

Source: highresaudio.com


The albums were chosen by the owner and blog editor of "Faces of Classical Music", Alexandros Arvanitakis.














More photos


See also


The best new classical albums: March 2019


The best new classical albums: February 2019

The best new classical albums: January 2019


The Faces of Classical Music Choose the 20 Best Albums of 2018


Wednesday, April 17, 2019

Monsieur Manu, are you a liar or a fool? Or both?














Macron hopes to rebuild "more beautiful" Notre Dame in five years. "I'd say decades", said Eric Fischer, head of the foundation in charge of restoring the 1,000-year-old Strasbourg cathedral.

French President Emmanuel Macron has vowed to rebuild the Notre Dame Cathedral "even more beautifully" within five years, as France reeled with shock from the fire that gutted the great Paris landmark.

Mr Macron announced the fast timescale  for a process some experts said would take decades  in an address to the nation where he hailed how the disaster had shown the capacity of France to mobilise and unite.

Pledges worth around €700m have already been made from French billionaires and businesses to restore the Gothic masterpiece.

Most of the roof has been destroyed, its steeple has collapsed and an unknown number of artifacts and paintings have been lost. The main organ, which had close to 8,000 pipes, has also suffered damage.

But the cathedral's walls, bell towers and the most famous circular stained-glass windows at France's most visited tourist attraction remain intact.

Mr Macron's defiant comments indicated he wants the reconstruction of the cathedral to be completed by the time Paris hosts the Olympic Games in 2024.

"We will rebuild the cathedral even more beautifully and I want it to be finished within five years", Mr Macron said from the Elysee Palace. "And we can do it."

He said that the dramatic fire had brought out the best in a country riven with divisions and since November shaken by sometimes violent protests against his rule.

"What we saw last night in Paris was our capacity to mobilise and to unite", Mr Macron said, hailing France as a nation of "builders".

Source: rte


This was not an accident. That was a crime. (Photo by Francois Mori)
















Tuesday, April 16, 2019

Kalevi Aho: Sieidi - Concerto for Percussion and Orchestra – Martin Grubinger, Gothenburg Symphony Orchestra, Santtu-Matias Rouvali (HD 1080p)














Austrian Martin Grubinger is a celebrated star in Europe and one of the world's most distinguished multi-percussionists. His repertoire is both extensive and broad, ranging from solo works and chamber music to percussion concerts. He often appears together with his own percussion ensemble, the Percussive Planet Ensemble, but also with prominent chamber ensembles and symphony orchestras. His incredible technology and musical versatility make his concerts something extra.

Sieidi, from the northern Finnish language Samí, is the word for an ancient cult or ritual place and composer Kalevi Aho thinks the Finnish fell of Luosto was probably used for this purpose. Ritual is the overriding force in the concerto, whether in the pounding opening or in the frenzied solos given to the percussionist as he moves around the stage. Aho has the soloist move from hand-beaten drums to instruments of pitch (marimba, vibraphone) to tam-tam, then back again in sequence. It's not all vigorous and primitive: on reaching the marimba, the soloist seems to tame the previously restless orchestra; later, crystalline bowed vibraphone marks the point of furthest retreat from the clatter.

Watch this magical concert by Grubinger together with the Gothenburg Symphony Orchestra led by Santtu-Matias Rouvali.

Filmed at Gothenburg Concert Hall, on February 15, 2018.

Source: bachtrack.com



Kalevi Aho (b. 1949)

♪ Sieidi - Concerto for Percussion and Orchestra (2010)

Martin Grubinger, percussion

Gothenburg Symphony Orchestra
Conductor: Santtu-Matias Rouvali

Gothenburg Concert Hall, February 15, 2018

(HD 1080p)


Kalevi Aho, one of Finland's foremost contemporary composers, was born in Forssa in southern Finland on 9th March 1949. He commenced violin studies in his home town at the age of ten, and his first compositions also date from this time. From the autumn of 1968 he studied the violin and composition at the Sibelius Academy in Helsinki; his composition teacher was Einojuhani Rautavaara.

After graduating as a composer (1971), Kalevi Aho continued his studies in Berlin (1971-1972) as a pupil of Boris Blacher at the Staatliche Hochschule für Musik and darstellende Kunst. From 1974 until 1988 he was a lecturer in musicology at Helsinki University, and from 1988 until 1993 he was a professor of composition at the Sibelius Academy. Since the autumn of 1993 he has worked in Helsinki as a freelance composer.

The central focus of Aho's work consists of large-scale orchestral, chamber and vocal works; to date his output includes five operas (1978-2013), sixteen symphonies (1969-2014), twenty-eight concertos (1981-2016), three chamber symphonies for string orchestra, other orchestral and vocal music and a large amount of music for chamber ensembles and solo instruments.

He has also made a number of arrangements and orchestrations of works by other composers. The most important of these is the completion of Uuno Klami's unfinished ballet Pyörteitä (Whirls). In 1992 the Lahti Symphony Orchestra appointed Kalevi Aho composer in residence, and since 2012 he has been its composer laureate.

In Finland Aho has also gained a reputation as an assiduous writer on music and with his writings and speeches he has also taken a critical stand on the culture politics of Finland. He has occupied a number of important positions in Finnish cultural life.

Source: bis.se















Hailed by The Guardian as ​"the latest sit-up-and-listen talent to emerge from the great Finnish conducting tradition", the 2018-2019 season will see Santtu-Matias Rouvali (b. 1985) continuing his positions as Chief Conductor of the Gothenburg Symphony and Principal Guest Conductor of the Philharmonia Orchestra, alongside his longstanding Chief Conductor-ship with the Tampere Philharmonic Orchestra close to his home in Finland.

Rouvali has regular relationships with several orchestras across Europe, including the Orchestre Philharmonique de Radio France, Oslo Philharmonic Orchestra, Bamberger Symphoniker and the Deutsches Symphonie-Orchester Berlin. As well as making his debut with the Münchner Philharmoniker this season, he also returns to North America for concerts with the Minnesota Orchestra and Detroit Symphony Orchestra.


Following a very successful Nordic tour with Hélène Grimaud last season, the Gothenburg Symphony is back on the road in February 2019 for a tour hitting major centres in Germany and Austria with pianist Alice Sara Ott, and percussionist Martin Grubinger who premieres a new percussion concert by Daníel Bjarnason. Rouvali looks forward to other ambitious touring projects with his orchestras in the future, including appearances in North America and Japan.


In addition to the extensive tour, Rouvali's season in Gothenburg opens with Strauss' Alpine Symphony accompanied by Víkingur Ólafsson Mozart Piano Concerto No.24, and he looks forward to collaborations with Janine Jansen, Patricia Kopatchinskaja and Baiba Skride throughout the rest of the season.


As another cornerstone to his tenure in Gothenburg, he is adding his mark to the Orchestra's impressive recording legacy. In partnership with Tampere Philharmonic Orchestra and violinist Baiba Skride, a recording featuring concertos from Bernstein, Korngold and Rozsa is released in autumn 2018. This continues his great collaboration with Baiba Skride following their hugely successful recording of Nielsen and Sibelius' violin concertos with the Tampere Philharmonic Orchestra in summer 2015.


Rouvali has been Artistic Director and Chief Conductor of the Tampere Philharmonic Orchestra since 2013. Highlights of the tenure so far include a Sibelius symphony cycle in autumn 2015, and the Orchestra's first tour to Japan in spring 2017 where they were accompanied by an exhibition of original Moomin drawings by Tove Jansson to mark the opening of the new museum at the Tampere Hall. He opens the 2018-2019 season with a Beethoven programme with pianist Javier Perianes.


Alongside an extremely busy symphonic conducting career, as Chief Conductor in Tampere he has conducted Verdi's La forza del destino and most recently world premiere of Olli Kortekangas's My Brother's Keeper (Veljeni vartija) with Tampere Opera in spring 2018.


Source: harrisonparrott.com
































































More photos


See also


Santtu-Matias Rouvali – All the posts


Gothenburg Symphony Orchestra – All the posts


Saturday, April 13, 2019

In the Name of (2013) – A film by Małgorzata Szumowska – Andrzej Chyra, Mateusz Kosciukiewicz, Maria Maj, Maja Ostaszewska, Lukasz Simlat, Tomasz Schuchardt (Download the movie)











Adam is a Catholic priest who discovered his calling as a servant of God at the relatively late age of 21. He now lives in a village in rural Poland where he works with teenagers with behavioral problems who fight and yell abuse. He declines the advances of a young blonde named Ewa, saying he is already spoken for. However, celibacy is not the only reason for his rejection. Adam knows that he desires men and that his embrace of the priesthood has been a flight from his own sexuality. When he meets Lukasz, the strange and taciturn son of a simple rural family, Adam's self-imposed abstinence becomes a heavy burden.

Source: filmmovement.com


"Magnetic! It's a film to be admired." — Jonathan Romney, Screen Daily

"This is emphatically not a typical melodrama... and thank god for that!" — Kevin Langson, The Edge San Francisco

"An understated, sensitive film!" — David Lewis, San Francisco Chronicle

"You won't forget Chyra's remarkable face, his eyes seemingly lit from within by the tortured melancholy of a medieval saint." — Anthony Quinn, Independent















In the Name of / W imię... (2013)

A film by Małgorzata Szumowska

Directed by Małgorzata Szumowska
Written by Michal Englert and Małgorzata Szumowska

Starring
Andrzej Chyra..........Priest Adam
Mateusz Kosciukiewicz..........Lukasz
Maria Maj..........Lukasz's mother
Maja Ostaszewska..........Ewa
Lukasz Simlat..........Teacher Michal Raczewski, Ewa's husband
Tomasz Schuchardt.........."Blondi"

Director of photography: Michal Englert
Production designer: Marek Zawierucha
Costumes: Katarzyna Lewinska, Julia Jarza-Bratiniec
Editor: Jacek Drosio
Music: Paweł Mykietyn, Adam Walicki

Producer: Agnieszka Kurzydlo
Co-producers: Beata Ryczkowska, Malgoska Szumowska, Peter Garde

Production companies: Polish Film Institute, Canal+, Mental Disorder 4, Zentropa International Poland

Country: Poland
Language: Polish
Running time: 96 minutes

Release date: 8 February 2013 (Berlin), 12 September 2013 (Poland)



Awards

Berlin International Film Festival, 2013
Reader Jury of the "Siegessäule": Małgorzata Szumowska (Winner)
Teddy – Best Feature Film: Małgorzata Szumowska (Winner)
Golden Berlin Bear: Małgorzata Szumowska (Nominee)

Camerimage Festival, 2013 (Polish Films Competition)
Golden Frog: Małgorzata Szumowska, director & Michal Englert, cinematographer (Nominee)

Chicago International Film Festival, 2013
Audience Choice Award: Małgorzata Szumowska (Nominee)

Chéries-Chéris, 2013 (International LGBT film festival, Paris)
Jury Prize: Małgorzata Szumowska (Winner)
Grand Prize: Małgorzata Szumowska (Nominee)

Ghent International Film Festival, 2013 (Belgium)
Grand Prix: Małgorzata Szumowska (Nominee)

Milan International Lesbian and Gay Film Festival, 2013
Grand Jury Award – Best Film: Malgorzata Szumowska (Winner)

Kiev Molodist International Film Festival, 2013
Sunny Rabbit Prize: Malgorzata Szumowska (Nominee) 

Polish Film Festival, 2013
Best Actor: Andrzej Chyra (Winner)
Best Director: Małgorzata Szumowska (Winner)
Silver Lion: Małgorzata Szumowska (Winner)
Golden Lion: Małgorzata Szumowska (Nominee)


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Toward the end of the potent In the Name of by Polish director Małgorzata Szumowska (Elles, 33 Scenes From Life), about a country priest's desperate efforts to repress the love that dare not speak its name, a glorious procession snakes through an empty meadow. All the residents of a nearby isolated provincial community participate, many holding icons in their hands or tall embroidered banners aloft, the pageantry proudly announcing the devout Catholicism that is their passion. Accompanied by what sounds like mellow English folk music, the lengthy sequence is more a holy entr’acte than a chunk of in-progress narrative.

In the middle of the throng is outspoken Father Adam (Andrzej Chyra, above), a handsome, athletic man's man approaching middle age, who bears the piece de resistance, a splendid gold sculpture with spokes radiating from the center and a cross at the peak. Among the others is long-haired townie Lukasz (Mateusz Kosciukiewicz, now the director’s husband), more physically expressive than verbal, a slightly feral lad with the beatific face of a young Christ. In more than one scene, he lies with his arms outstretched in a cruciate pose, and, in a reversal, Adam washes his bloody feet following a fight with other boys, just as Christ had done to each of the apostles the night before the crucifixion. Lukasz, aka Humpty, is himself deeply troubled, discovering in pyromania cathartic therapy.

The primary conflict in this Teddy Award-winning film is the burgeoning emotional and sexual tension between the two opposites in a milieu so nasty and bigoted that fag and Jew are right down there with cunt as slurs of choice. The plot hinges on whether or not Adam will be able to channel at least some of his adoration for Jesus into physical love for a flesh-and-blood simulacrum.

The languorous communal march is a welcome relief. Up to that point, the controlled but jerky camera of d.p. Michal Englert (Szumowska's former spouse and co-screenwriter of the film), when not coolly engaged in graceful traveling and impressive overhead shots, captures rambunctious, bullying delinquent teenaged boys who live together in a social rehab center run by the affable but domineering cleric, and who earn their keep smashing enormous rocks in the grueling summer sun; locals in this impoverished milieu either engaged in backbreaking labor or altogether disengaged; and a pair of miserable, enervated affiliates of the small, underattended church that the priest has successfully overseen since his reassignment from what most would consider a more desirable diocese in Warsaw – a move to "this shithole" that the wife, Eve (Maja Ostaszewska), of priest's assistant/second teacher Michal (Lukasz Simlat) assumes is "punishment". The saintly procession puts the brakes on much of the vulgar negative energy and sets the stage for a relatively gentle build-up to a potentially hopeful future away from all this dysfunction and a cleverly surprising resolution.

The names Adam and Eve are, of course, deliberate, and this Eve does try to tempt, actually shock, Adam into breaking his vow of celibacy. ("I'm taken", he tells her impishly, relieved to have a plausible excuse for rejecting the half-naked aggressor.) After all, Michal, who wears regret like a mask, had given up seminary for her. That's a macguffin, really. Desire for men, particularly younger ones, is Adam's, well, apple. A dalliance with an altar boy is rumored to have precipitated his transfer. Now he tries to sublimate it with endless jogging, booze, cold baths, and wild dancing to American pop in his living room. (In one amusing but slightly heavy-handed scene, he does a duet with a framed portrait of the pope.)

Keeping his urges under wraps is difficult enough, especially surrounded all day by shirtless teens, but the goading of new, shameless, and barely closeted "inmate" Adrian (Tomasz Schuchardt), who is on to him, and a blossoming bond with Lukasz – the only young fellow in town who shows any evidence of a moral compass – compel him to so overcompensate that he begins to unconsciously reveal himself. The point of no return is an irrational insistence on the removal of an old couch on which he had caught a glimpse of butch Adrian banging a skinny boy after lights out. In the words of Szumowska, "A priest who is only a human being suddenly becomes a victim of his own faith".

In a Sunday sermon, Adam confesses to the few congregants that he did not find religion until the age of 21, when he wanted "to be rid of the selfish I". As good a priest and social worker as he has proven himself to be, and as divorced from the material world as one can be in this century, he has failed to feed the increasingly demanding amorous and sexual needs of his ego. Even if In the Name of contains a host of clichés about coming out and engaging in same-sex relationships, and even if the late Antonia Bird's well-received Linus Roache-starrer Priest dealt with related dilemmas back in 1994, Adam is less in pursuit of the carnal than something dogma can not fully snuff: reciprocated unconditional love.

Source: Howard Feinstein, October 28, 2013 (filmmakermagazine.com)


Scandalous exposés about gay priests hiding beneath the starchy, ossified Catholic robes make hardly news anymore, ever since the public has started pulling out hypocrisies from the Vatican's strictly-guarded closet in recent times. Cinema, on the other hand, has been slow in the uptake, where the ongoing contradiction between faith and sexuality is seldom explored, with Antonia Bird's Priest and Alex Gibney's explosive documentary Mea Maxima Culpa: Silence in the House of God being two of the most obvious paradigms. Not to mention these two works bookended the best part of the last decade. Poland, being one of the most staunchly Catholic countries in Europe, if not the entire world, takes a stab in providing perspective on the controversial subject with In The Name Of. The film already bagged an award in the Berlinale earlier this year, and is set to annoy even more stone-cold gargoyles and rigid puritans that run the Vatican and its religious empire.

Director Malgoska Szumowska's approach is neither provoking scandal nor providing scathing religious commentary but rather attempting to psychologically examine the sexual repression of a man who happen to be a priest. In The Name Of is mostly remarkable due to its bravery in separating the (wrongly) preconceived notions between homosexuality and paedophilia in the Catholic church. The protagonist Adam (played to brimming intensity by Andrizej Chyra) is a booze-drinking, marathon-running, football-kicking small-town priest whose faith and fidelity to his religion is put to test when he's tasked to run a delinquent centre, looking after rowdy young men, who no sooner than later invoked angsty sexual yearnings from the middle-aged man. Particularly the Jesus Christ look-a-like Lukasz, the reticent, bearded young lad, who take Father Adam as a counsellor and guide. The metaphor is obviously laid out – Szumowska sets up a pietá-like scene where Father Adam wipes the bloodied Lukasz as he rests on his lap during the aftermath of a boys' brawl. Szumowska's restraint is credible, never letting her piece capsize into exploitation even when sexual tensions intensify. The film is also admirable in its non-judgemental study of a man's spiritual deterioration and subsequent sexual awakening – one standout scene sees Adam, drunken and desperately lonely, exclaims to her sister over Skype, that he isn't a paedophile but rather a "faggot". In society's eyes, however, a priest hankering over young men is labelled the other way around, or worse both.

It is a shame, then, that the director's dignified essay is somewhat weighed down by its often unnecessary aestheticism. The cinematography, while nonetheless beautiful, often dips into that afterglow romantic movie palette that feels like a betrayal of the social-realist grit of this dusty provincial Poland. That cornfield sequence where Adam and Lukasz play hide-and-seek, howling like primeval apes, is laughable rather than poignant. And whenever the film segues into melancholia, we're drip-fed by this generically mawkish string music that could've been lifted out from a royalty-free online songbook best used for Grand Emotional Scenes. Ultimately, there's the narrative – strong when it focusses on Adam and his inner existential conflict, but meandering when it introduces the romantic subplot, with Lukasz's character being the main victim. His chemistry with Adam never really gels, and slightly frustrating when the narrative never really presents him as a whole character but rather as an object to which Szumowska directs Adam's desire.

Source: Janz Anton-Iago, September 24, 2013 (themoviejerk.co.uk)












Gay priests hardly raise an eyebrow anymore in Western films, but it is rare that their sexual angst is portrayed as sensitively as in Poland's Berlin competition entry In the Name Of..., which hovers in an interesting middle ground between Gothic expressionism and psychological drama, heightened by a fine cast and outstanding performances. It should put respected young writer-director Małgorzata Szumowska's (33 Scenes From Life) career back on track after her critically unpopular Elles, which essayed a radical female take on prostitution. The new film's tolerance, propped up by a careful distinction between homosexuality and pedophilia, is unlikely to arouse much controversy among the kind of art house audiences the Memento title will attract, though it could provoke protest from traditional Catholic groups.

Father Adam (played by Szumowska regular Andrzej Chyra) is the stern-faced pastor of a small parish in the Polish boondocks. Since being transferred there, he has opened a center for difficult boys coming from a reformatory, and his success in taming their foul language and manners has been "remarkable" even in the eyes of his bishop.

He works elbow to elbow with his even sterner lay assistant Michal, and there is no question about their earning the boys' respect: they command it. The wildness of the place is described in a tense opening scene showing how small children mercilessly torment a simple-minded youth. An atmosphere of danger and violence holds the whole film in thrall, and against this backdrop Father Adam's personal drama emerges.

His first temptation comes, appropriately enough, from an attractive woman named Eve (Maja Ostaszewska), Michal's dissatisfied wife, who attempts to seduce him without success. His witty reply ("I'm already taken") seems to refer to his vow of celibacy, but gradually it becomes clear that he's attracted not to women, but to the youths around him. One in particular strikes a chord, the strange, silent Lukasz (Mateusz Kosciukiewicz, the prize-winning young actor from Matka Teresa and All That I Love) whose long hair and beard give him the look of a teenage Jesus. In an eerie primeval scene in a vast cornfield, the priest and the boy play hide-and-seek, calling to each other with ape-like howls.  Rather than give in to his sexual longings, however, Adam returns to his old vice of drinking, which culminates in the film's sole comic scene as he dances, dead drunk, to a pumped-up rock track, with a portrait of Pope Benedict XVI for a partner. Though there are not really that many ways such a tale could end, the screenplay keeps all options open until it settles on a dignified finale with a small-scale surprise.

Chyra never stumbles in his tough but engaging portrait of a sincerely devout priest with human failings, establishing a close bond with the viewer from the first scenes. The proximity of the sacred and the profane in his ministry make him at once a magnetic authority figure with a real vocation and a fragile fellow much in need of a hug.

Along with the enigmatic Kosciukiewicz, Tomasz Schuchardt's devilish "Blondie" stands out of the rowdy pack of young men testing their limits, filmed in uncomfortable close-up by a restlessly swishing camera. Cinematographer Michal Englert's out-of-doors lighting is arresting in its depiction of a forest of trees taller than any cathedral; it's not surprising Father Adam calls his morning jog "praying".

Source: Deborah Young, February 8, 2013 (hollywoodreporter.com)











































































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Border (2018) – A film by Ali Abbasi – Eva Melander, Eero Milonoff, Jörgen Thorsson, Sten Ljunggren, Ann Petrén (Download the movie)


Eastern Boys (2013) – A film by Robin Campillo – Olivier Rabourdin, Kirill Emelyanov, Danil Vorobyev (Download the movie)


Die Wand / The Wall (2012) – A film by Julian Roman Pölsler – Starring Martina Gedeck (Download the movie)


Mr. Gaga: A True Story of Love and Dance (2015) – A film by Tomer Heymann – Ohad Naharin and the Batsheva Dance Company (Download the movie)


Out in the Dark (2012) – A film by Michael Mayer – Nicholas Jacob, Michael Aloni, Jamil Khoury, Alon Pdut, Loai Nofi, Khawlah Hag-Debsy, Maysa Daw, Shimon Mimran (Download the movie)


Call Me by Your Name (2017) – A film by Luca Guadagnino – Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel, Victoire Du Bois – James Ivory, Sayombhu Mukdeeprom (Download the movie)


Seashore (Beira-Mar), 2015 – A film by Filipe Matzembacher and Marcio Reolon – Mateus Almada, Maurício Barcellos, Elisa Brittes, Fernando Hart, Ariel Artur, Francisco Gick (Download the movie)


mother! (2017) – A film by Darren Aronofsky – Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer (Download the movie)


Okja (2017) – A film by Bong Joon-ho – Ahn Seo-hyun, Tilda Swinton, Paul Dano, Steven Yeun, Jake Gyllenhaal, Giancarlo Esposito, Lily Collins, Shirley Henderson (Download the movie)


Im Keller / In the Basement (2014) – A film by Ulrich Seidl (Download the movie)


Maurice (1987) – A film by James Ivory – James Wilby, Hugh Grant, Rupert Graves (Download the movie)


Shostakovich Against Stalin: The War Symphonies – A Documentary by Larry Weinstein – Netherland Radio Philharmonic, Kirov Orchestra, Valery Gergiev (HD 1080p)


Florence Foster Jenkins (2016) – A film by Stephen Frears – Meryl Streep, Hugh Grant, Simon Helberg (Download the movie)


Son of Saul (2015) – A film by László Nemes – Géza Röhrig, Levente Molnár, Urs Rechn (Download the movie)


Amour (2012) – A film by Michael Haneke – Emmanuelle Riva, Jean-Louis Trintignant, Isabelle Huppert, Alexandre Tharaud (Download the movie)


Dmitri Shostakovich: Katerina Izmailova (Lady Macbeth of Mtsensk), 1966 – A film by Mikhail Shapiro – Galina Vishnevskaya, Konstantin Simeonov


The New Babylon (Novyy Vavilon), 1929 – A film by Grigori Kozintsev & Leonid Trauberg – Music by Dmitri Shostakovich (HD 1080p)


Farinelli (1994) – A film by Gérard Corbiau – Stefano Dionisi, Enrico Lo Verso, Elsa Zylberstein (Download the movie)


Eroica (The Movie, BBC 2003) by Simon Cellan Jones – Ian Hart, Leo Bill, Claire Skinner, Frank Finlay – John Eliot Gardiner (HD 1080p)


Tous les Matins du Monde / All the Mornings of the World / Όλα τα Πρωινά του Κόσμου (1991) – A film by Alain Corneau (Download the movie)


Death in Venice (1971) – A film by Luchino Visconti – Dirk Bogarde, Björn Andrésen, Silvana Mangano – Music by Gustav Mahler (Download the movie)