Cat. No.: 477 8095
Barcode: 0028947780953
Label: DG CD
Release Date: January

Alice Sara Ott | CHOPIN: Complete Waltzes

ARTISTS

Alice Sara Ott, piano

TRACK LISTING

CHOPIN
1. Grande Valse brillante in E flat major Op. 18
2. Waltz Op. 34, No. 1 in A flat major
3. Waltz Op. 34, No. 2 in A minor
4. Waltz Op. 34, No. 3 in F major
5. Waltz in A flat major Op. 42
6. Waltz Op. 64, No. 1 in D flat major
7. Waltz Op. 64, No. 2 in C sharp minor
8. Waltz Op. 64, No. 3 in A flat major
9. Waltz Op. Posth. 69, No. 1 in A flat major
10. Waltz Op. Posth. 69, No. 2 in B minor
11. Waltz Op. Posth. 70, No. 1 in G flat major
12. Waltz Op. Posth. 70, No. 2 in F minor
13. Waltz Op. Posth. 70, No. 3 in D flat major
14. Waltz in A flat major KK IVa No. 13
15. Waltz in E flat major KK IVb No. 10
16. Waltz in E flat major KK IVa No. 14
17. Waltz in E major KK IVa No. 12
18. Waltz in E minor KK IVa No. 15
19. Waltz in A minor KK IVb No. 11

Already a star in Japan, piano-wonder (Hamburger Abendblatt) Alice Sara Ott will conquer the entire world of music with her International Deutsche Grammophon debut album – the complete Chopin Waltzes.

This collection of immortal piano gems fits Ott’s talents like the proverbial glove. Her colorful, vital playing reveals the spectrum of her artistry and musicality.

Ott’s triumphant recital at Munich’s Herkulessaal in January 2007, performing Beethoven and Liszt, occasioned the Süddeutsche Zeitung to rave that “Ott lends a personal, almost overwhelming poetic charm to this splendid music, transporting her listeners into ecstatic delight”. Her recent concerts in Germany this summer led to similar raving reviews, spear-headed by Hamburger Abendblatt which called her a pianist of devilish talent.

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Cat. No.: 477 8092
Barcode: 0028947780922
Label: DG CD
Release Date: January

Hilary Hahn | BACH: Violin & Voice

ARTISTS

Hilary Hahn, violin
Christine Schäfer, soprano
Matthias Goerne, baritone
Münchener Kammerorchester
Alexander Liebreich

TRACK LISTING

J.S. BACH
1. Aria (bass): "Gebt mir meinen Jesum wieder" from St Matthew Passion, BWV 244
2. Duet (soprano, bass): "Wenn kömmst du, mein Heil?" from Cantata Wachet auf, ruft uns die Stimme, BWV 140
3. Aria (soprano): "Die Schätzbarkeit der weiten Erden" from Cantata Ich bin in mir vergnügt, BWV 204
4. Aria (bass): "Hier in meines Vaters Stätte" from Cantata Liebster Jesu, mein Verlangen, BWV 32
5. Aria (soprano): "Angenehmer Zephyrus" (Pallas) from Cantata Zerreißet, zersprenget, zertrümmert die Gruft, BWV 205 (Der zufriedengestellte Äolus, dramma per musica)
6. Aria (soprano): "Laudamus te" from Mass in B minor, BWV 232
7. Aria (bass): "Jaja, ich halte Jesum feste" from Cantata Ich lasse dich nicht, BWV 157
8. Aria (bass): "Die Welt mit allen Königreichen" from Cantata Wer mich liebet, der wird mein Wort halten, BWV 59
9. Aria (soprano): "Ich bin vergnügt in meinem Leiden" from Cantata Ach Gott, wie manches Herzeleid, BWV 58
10. Aria (soprano): "Wenn Trost und Hülf ermangeln muss" from Cantata Sei Lob und Ehr dem höchsten Gut, BWV 117
11. Aria & Chorale (bass): "Welt, ade, ich bin dein müde" from Cantata Der Friede sei mit dir, BWV 158
12. Aria (soprano): "Erbarme dich" from St Matthew Passion (transposed for soprano by Felix Mendelssohn)

To the vocal lines of arias and duets, Bach composed gorgeous violin obbligati. In this novel album, Hilary Hahn records these obbligati exclusively – an act of devotion no other virtuoso violinist has ever committed to disc.

Sharing this album with Hahn are soprano Christine Schäfer and baritone Matthias Goerne, both also renowned Bach exponents.

Numbers from such masterpieces as the St Matthew Passion and the Mass in B minor are rendered with an unearthly beauty and a reverence that add to this recording’s historical significance.

In truth, this album features not two but three singers – Hahn elicits from her Jean-Baptiste Vuillaume tone as sung by a golden voice.

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Cat. No.: 477 8610
Barcode: 0028947786108
Label: DG CD
Release Date: January

Anne Sofie von Otter | Ombre De Mon Amant: French Baroque Arias

ARTISTS

Anne Sofie Von Otter, mezzo-soprano
Choeur et Orchestre Les Arts florissants
William Christie

TRACK LISTING

CHARPENTIER
1. Ouverture from Medée
2. "Princesse c'est sur vous" from Medée
LAMBERT
3. Ma bergère est tendre et fidelle
4. Ombre de mon Amant
CHARPENTIER
5. Prelude fromConcert pour quatre parties de violes, H. 545
6. Quel prix de mon amour from Medée
7. "Croiras-tu mon malheur - Dieux témoins de la foy que l'ingrat m'a donnée" from Medée
8. "Prélude - C'en est fait, on m'y force" from Medée
9. "Avant que d'éclater - Malgré ta noire trahison" from Medée
10. "Prélude - Noires filles du Styx" from Medée
11. "Venez mêler à mes poison" from Medée
12. "Prélude - Je voy le Don fatal" from Medée
13. "Premier Air pour les Démons" from Medée
14. "Dieu du Cocyte et des Royaumes sombres" from Medée
15. "Entrée des Démons" from Medée
16. Prélude instrumental et chansonette auprès du feu l'on fait l'amour, H. 446
17. Gigue angloise from Concert pour quatre parties de violes, H. 545
18. Chanson à danser celle qui fait mon tourment, H. 450
19. Gigue francoise from Concert pour quatre parties de violes, H. 545
RAMEAU
20. Prélude.."Cruelle mère des amours" from Hippolyte et Aricie
21. Gigue Air gracieux pour Zéphyre et les Grâces, Prologue from Les fêtes d'Hébé
22. "Ariette de l'Amour Vole, Zéphyre!" from Les fêtes d'Hébé
23. Tambourins I et II, Première Entrée La Poésie from Les fêtes d'Hébé
24. "Air tender" from Les fêtes d'Hébé
25. "Pour le Génie de Mars" from Les fêtes d'Hébé
26. Rigaudons I et II from Les fêtes d'Hébé
27. Chaconne from Les fêtes d'Hébé
28]. "Quelle plainte en ces lieux m'appelle?" from Hippolyte et Aricie
LAMBERT
29. Vos mépris chaque jour

Ombre de mon amant is Anne Sofie von Otter’s first recording of these French Baroque Arias - graceful, temperamental tunes which will delight her fans and thrill Baroque music cognoscenti.

Otter’s mastery of diverse musical genres, crystalline diction and exquisite musicality empower her interpretations of French repertoire. Her celebrated Offenbach album and album of rarities of songs by Chaminade are cases in point.

Anne Sofie von Otter, every bit a woman of the theatre as she is of song, embodies Charpentier's Médée and Phèdre in Rameau's Hippolyte et Aricie matchlessly, in the grand manner.

The Guardian commented: “Her Médée […] was a thing of wonder. Keeping us to the right side of empathy, von Otter dragged us with her into utter monstrosity, unleashing hell with the most exquisite of pianissimos and suggesting vortices of emotion beneath the calm, controlled surface.”

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