![Yes - Mirror To The Sky (Deluxe edition) (2023) [High Fidelity Pure Audio Blu-Ray Disc]](https://imghd.xyz/images/2024/05/07/431fc5ccc69a7bf19509084e0e9f70ba.jpg)
![Nektar - Remember The Future (Deluxe Edition) (1973/2023) [High Fidelity Pure Audio Blu-Ray Disc]](https://imghd.xyz/images/2024/05/01/NjktMTk3MS5qcGVn.jpg)
Tatiana Samouil, David Lively, Marie-Pierre Langlamet, Lise Berthaud, Claire Désert – Debussy: Sonates, danses et rhapsodies (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:12:43 minutes | 618 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Indésens
Along with the Etudes and En blanc et noir of 1915, Claude Debussy‘s three sonatas constitute the last will and testament of the composer, who died in Paris on March 25, 1918. It’s not due to there being the final works in Debussy‘s chronology that confer this privilege open them so much as the fact that they perfectly manifest the composer’s ideal of French music distinguished by « clarity, elegance, simple and natural declamation (in which) seeks, above all, to please. How could one better describe these three masterpieces ?
Read more
Martin Löhr & Marie-Pierre Langlamet – Fauré & Schumann (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:15:12 minutes | 1,32 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Indésens
Robert Schumann and Gabriel Fauré – both composers are great masters of the small form, the art of saying a lot with few notes. And both find their deepest and most touching statements in the intimate form of chamber music, which Schumann called “the higher potency of poetry” in his diary. All arrangements were worked out jointly by Martin Löhr and Marie-Pierre Langlamet.
Read more
Marie-Pierre Langlamet, Anna Prohaska, Ludwig Quandt, Lara St. John – Schubert (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:19:16 minutes | 1,29 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ancalagon LLC
Ancalagon Records proudly announces its new SACD release, Schubert, featuring Berlin Philharmonic principal harpist Marie-Pierre Langlamet, Deutsche Gramophone recording artist Anna Prohaska, soprano, Berlin Philharmonic principal cellist Ludwig Quandt, and Lara St. John, violin.
This second recording collaboration between Ancalagon Records and Langlamet gives a portrait of Schubert’s life from early to late in his short, prolific career. Langlamet does not arrange the keyboard parts, but performs them exactly as written by Schubert.
“Had Schubert lived into the era of the double-action pedal harp, I am quite certain he would have written his Harfner songs and Arpeggione sonata to be paired with this instrument,” says St. John, “not to mention the extraordinary aural filigree herein possible with his impromptus and the whirling wheel of Gretchen, spun by Marie-Pierre.”
Read more
Lara St. John, Marie-Pierre Langlamet – Bach: Sonatas (2012)
SACD ISO: 3,23 GB (Stereo + MCH DSD) | FLAC @ 24bit/88.2kHz: 1,14 GB | Full Artwork: 268 MB
Label/Cat#: Ancalagon # ANC 139 | Country/Year: UK 2012 | 5% Rec. Info
Genre: Classical | Style: Baroque
Review by Blair Sanderson
While it is common to hear the violin sonatas and the flute sonatas of J.S. Bach performed with harpsichord accompaniment, it is unusual to find a recording where the same music has been transcribed for violin and harp. For their 2012 release on Ancalagon, violinist Lara St. John and harpist Marie-Pierre Langlamet played the sonatas BWV 1014, 1016, 1020, 1030 and the Siciliana from BWV 1031, following a practice that Bach and other composers employed in the Baroque era (i.e., by adapting the music to the available musicians). As novel as these violin and harp arrangements may seem, the results are quite pleasing and easy to adjust to, despite the obvious fact that the modern pedal harp wasn’t developed until the 19th century, which makes its use in Bach as anachronistic as a Steinway grand piano. Yet there is an equally obvious advantage in using the harp, because its volume and resonance are a good match with the violin, and the updated instrumentation makes the performances feel creative and intellectually involving because expectations are switched and the music is reimagined. St. John’s playing is thoughtful and nuanced, though her expressive inflections include a slightly bent intonation that is sometimes in conflict with the harp’s strict tuning; furthermore, Langlamet’s tone is consistently lush and rounded, which might disconcert listeners who miss the secco quality of a harpsichord. But aside from these points, this is a refereshing take on Bach that shows some rethinking of the issues of historically informed practices of versus modern performances and shows there are more than just two ways to interpret the music. allmusicguide
Read more