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![Jean-Paul Estiévenart, Marcel Ponseele, Anthony Romaniuk - Triptyque (2022) [Official Digital Download 24bit/192kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/10/19/sk5hb1end0cab_600.jpg?resize=500%2C500&ssl=1)
Jean-Paul Estiévenart, Marcel Ponseele, Anthony Romaniuk – Triptyque (2022)
FLAC (tracks) 24 bit/192 kHz | Time – 51:24 minutes | 1,70 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Fuga Libera
The three sections of this Triptych can be described as follows: the left-hand panel — Misery — depicts the vale of tears; Transitio on the right-hand panel represents a transformation in everyday life, whilst Transfiguratio , the central panel, portrays the brilliant colours of transcendental bliss.
Jean-Paul Estiévenart is a Belgian jazz trumpeter whose career to date is surprisingly dense and diverse. His playing is nourished as much by his passion for the traditions and history of the genre as it is by modern experiments and free improvisation. His meeting with the eminent oboist Marcel Ponseele created no clash of contexts, as they both experience and talk about music in the same way. They have chosen to perform a selection of works — principally by Bach — in which each reacts to the other, altering the music slightly where necessary to allow space for improvisation.
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Reinoud Van Mechelen & Anthony Romaniuk – Édouard Lassen: Lieder – Mélodies (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:19:50 minutes | 1,36 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Musique en Wallonie
Édouard Lassen never stopped composing. His copious oeuvre contains examples of almost every genre in favour in the second half of the 19th century, from piano pieces to operas, choral works, symphonic and concertante pieces. His international reputation was secured especially by his theatrical works. He also produced a regular and uninterrupted flow of over 260 songs from 1857 until his death in 1904. The small-scale song form was ideally suited to his temperament imbued with universalism, assuming a dual cultural heritage. The immediate charm of Lassen’s art songs rests on a fusion between a perfect German prosody and a melodious amplitude inherited from the French tradition, the one bringing out the performer’s talents as dramatist and narrator, the other the beauty of their voice and their musicality. It is with mastery that Reinoud Van Mechelen, accompanied by pianist Anthony Romaniuk, rekindles the breath of his now unjustly forgotten melodies, mixing intimacy and depth of sensation.
Read more![Anthony Romaniuk - Perpetuum (2023) [Official Digital Download 24bit/192kHz] Download](https://i0.wp.com/imghd.xyz/images/2023/03/08/y8uh0gbmxgxsb_600.jpg?resize=500%2C500&ssl=1)
Anthony Romaniuk – Perpetuum (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 01:08:19 minutes | 2,27 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Alpha Classics
Anthony Romaniuk, multi-keyboardist, alchemist of pianos, or ‘musical polyglot’ as some people call him, presents his new album as follows: ‘I remember very clearly the occasions in my childhood when I would be at a concert and a magical feeling would overtake both the audience and the performers. It was as though everyone in the room was part of the performance and we were all experiencing a kind of collective bliss. As an adult I have tried to understand this phenomenon of communal concentration. It seems to me that a certain kind of musical work will naturally induce this state, works in which the rhythm is hypnotic, trance-like and ongoing. For this album I wanted to find music embodying this quality, pieces in perpetual motion.’ As if in some fascinating portrait gallery, we meet music by Kapsberger, Scarlatti, Purcell, Bach, Beethoven, Schubert, Schumann, Shostakovich, Stravinsky, Ravel, Satie, Ligeti, Adams, and improvisations, played on a Fazioli concert piano, a Graf fortepiano from 1835, a Flemish muselar, a seventeenth-century harpsichord, a Yamaha CP80 electro-acoustic piano and a Prophet Rev2 synthesizer.
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Jean-Paul Estiévenart, Marcel Ponseele, Anthony Romaniuk – Triptyque (2022)
FLAC (tracks) 24 bit/192 kHz | Time – 51:24 minutes | 1,70 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Fuga Libera
The three sections of this Triptych can be described as follows: the left-hand panel — Misery — depicts the vale of tears; Transitio on the right-hand panel represents a transformation in everyday life, whilst Transfiguratio , the central panel, portrays the brilliant colours of transcendental bliss.
Jean-Paul Estiévenart is a Belgian jazz trumpeter whose career to date is surprisingly dense and diverse. His playing is nourished as much by his passion for the traditions and history of the genre as it is by modern experiments and free improvisation. His meeting with the eminent oboist Marcel Ponseele created no clash of contexts, as they both experience and talk about music in the same way. They have chosen to perform a selection of works — principally by Bach — in which each reacts to the other, altering the music slightly where necessary to allow space for improvisation.
(more…)
![Anthony Romaniuk, Toshiyuki Shibata - J.S. Bach: Sonatas, Fantasias & Improvisations (2022) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/02/16/rjgjdlrsxlhqc_600.jpg?resize=500%2C500&ssl=1)
Anthony Romaniuk, Toshiyuki Shibata – J.S. Bach: Sonatas, Fantasias & Improvisations (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 58:28 minutes | 1,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Fuga Libera
This project represents a starting point in gently opening up the possibilities of incorporating an element of improvisation into the oeuvre of Bach’s chamber music. Given that both Toshiyuki Shibata and Anthony Romaniuk are improvising musicians, able and willing to extemporise in a variety of genres (jazz, folk music, early music, etc.), but also being devotees of the repertoire and musical language of Bach, it seemed natural to use certain works of Bach’s as a basis for new invention. The result is a fresh approach to Bach, where improvisation is part of the overall soundscape, whether through ornamentation, basso continuo or entire passages opened up for “jamming”. The instrumentation for this programme is also diverse, with Toshiyuki Shibata and Anthony Romaniuk using two instruments each; broadening the timbral spectrum. This project is, for them, a crucial way in exploring just how we can be both faithful to the score and true to ourselves as creative musicians interested in mastering this musical language.
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