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Marc Coppey & The Zagreb Soloists: Cello Concertos by J. Haydn and C. P. E. Bach

97716 - Marc Coppey & The Zagreb Soloists: Cello Concertos by J. Haydn and C. P. E. Bach

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Marc Coppey & The Zagreb Soloists: Cello Concertos by J. Haydn and C. P. E. Bach

Marc Coppey, winner of the Leipzig Bach Competition, is one of today’s leading cellists. This recording – featuring Marc Coppey in the dual role of artistic director and soloist of the Zagreb Soloists for the first time – presents Haydn’s Cello Concertos, milestones in the history of cello music. The original and free-spirited A major Concerto by C. P. E. Bach makes an ideal companion piece.more

Joseph Haydn | Carl Philipp Emanuel Bach

"Flexible, supple and sensually poetic performances of Cello Concertos by Haydn and CPE Bach." (Pizzicato)

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HaydnCello Concerto No. 1 in C Major, Hob. VIIb:1 Marc Coppey | The Zagreb Soloists

HaydnCello Concerto No. 2 in D Major, Hob. VIIb:2 Marc Coppey | The Zagreb Soloists

BachCello Concerto in A Major, Wq. 172 Marc Coppey | The Zagreb Soloists

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For his first audite recording, Marc Coppey has chosen to focus on the Haydn Cello Concertos - milestones in the history ofcello music. Coppey's interpretation reveals the diverging aspects of these works: Baroque devices alongside pioneering elements looking towards the Romantic concerto; chamber-like communication alternating with soloisticvirtuosity; intimate, differentiated soundscapes beside orchestral wealth.
Marc Coppey: "I feel as though I am asinger in different roles. If I had to choose one aspect over all the others, it would be the operatic one."

The concept and originality of the A major Cello Concerto by Carl Philipp Emanuel Bach make it an ideal companion piece for the Haydn Concertos.

As Artistic Director of the Zagreb Soloists, Marc Coppey performs these concertos as soloist and director, continuing the long tradition of the Zagreb Soloists under Antonio Janigro.

Marc Coppey, winner of the Bach Competition Leipzig, is considered one of today's leading cellists. He was discovered at an early ageby Yehudi Menuhin, who invited him to perform alongside him. In 1989, Mstislav Rostropovich asked Coppey to perform at the Evian Festival, marking the beginning of his solo career. He regularly appears alongside leading orchestras and conductors, and is also a passionate chamber musician, performing together with renowned artists. From 1995 until 2000 he was a member of the Ysaÿe Quartet. Marc Coppey is a professor at the Conservatoire National Supérieur de Musique de Paris and gives masterclasses across the globe. He is Artistic Director of the Chamber Music Festival Colmar and the Zagreb Soloists.

Reviews

Stereoplay
Stereoplay | 09|2016 | Lothar Brandt | September 1, 2016 HighClass in HiRes

Marc Coppey wurde noch von Geiger-Legende Yehudi Menuhin und von dem Jahrhundert-Cellisten Mstislav Rostropowitsch (1927-2007) gefördert, inzwischen hat er seine Karriere auch als Kammermusiker und Orchesterleiter gefestigt. Kantabel und sinnlich bereitete er den Hörern einen Haydn-Spaß.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Marc Coppey wurde noch von Geiger-Legende Yehudi Menuhin und von dem Jahrhundert-Cellisten Mstislav Rostropowitsch (1927-2007) gefördert, inzwischen hat er seine Karriere auch als Kammermusiker und Orchesterleiter gefestigt. Kantabel und sinnlich bereitete er den Hörern einen Haydn-Spaß.

Das Orchester | 07/2016 | Anna Catharina Nimczik | July 1, 2016 | source: http://www.dasor...

Marc Coppey und die Zagreb Soloists [...] überzeugen auf dieser Einspielung durch fein abgestimmtes Zusammenspiel und ein homogenes, gut ausgewogenes Klangergebnis. Mehr lesen

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Marc Coppey und die Zagreb Soloists [...] überzeugen auf dieser Einspielung durch fein abgestimmtes Zusammenspiel und ein homogenes, gut ausgewogenes Klangergebnis.

American Record Guide | July 2016 | Donald R Vroon | July 1, 2016

I approached this with fear and trembling—a new recording of the Haydn concertos with a young soloist and a new Solisti di Zagreb. The group wasMehr lesen

I approached this with fear and trembling—a new recording of the Haydn concertos with a young soloist and a new Solisti di Zagreb. The group was always small—10 or 12 players. Maybe they have been corrupted by the period performance nonsense? Maybe the cellist will sound off-pitch in an attempt to reproduce “period” pitch?
Well, the group was led by a great cellist in the past—Antonio Janigro—and this cellist is their current leader. Having a cellist for a leader is good, I think, because cellists are often more human, more earthy, more emotional than other musicians. And in the notes this cellist tells us about PPP that “it’s time to stop making an issue of it”. He adds that it is dangerous to treat a piece of music like a museum piece. The music must be brought to life. So the pitch here is modern, though the strings are gut, not metal.
The result is delightful. He’s a wonderful player, and the small orchestra is with him all the way. They have played together for two or three years—this is not the standard recording where the soloist meets the orchestra and conductor in the studio for the first time! They are very much in tune with each other, and the music sounds vital—not “ye olde”. The strings and soloist use enough vibrato to blend well and never produce that scraping sound that we all too often hear. Nothing sounds tinny. The tempos are faster than old favorites like Walevska and DuPre, but they are not mechanical or breathless. The slow movements in both the Haydn concertos are a minute or two faster than I am used to, but they are not extreme. The older recordings were more willing to sound “romantic”—after all, both movements were called “Adagio” by Haydn. I won’t give up those older recordings, but I like this new one.
The CPE Bach concerto sounds more “baroque” than the Haydns, and it made me consult an old Tortelier recording that takes 3 minutes longer. I find that the tempos affect me less than the sound. The new recording sounds really good, and the Tortelier sounds like it belongs to the dim past. I will gladly substitute this one for that, despite the slight tinge of period sounds.
I approached this with fear and trembling—a new recording of the Haydn concertos with a young soloist and a new Solisti di Zagreb. The group was

www.baroquiades.com | 20 juin 2016 | Bruno Maury | June 20, 2016 Quand chantent les cordes

Marc Coppey nous livre une magnifique version de ces deux premiers concertos. Par la fluidité toute lumineuse de son jeu, et sa parfaite insertion au sein de son ensemble des Solistes de Zagreb, son interprétation éclaire d'un jour nouveau ces œuvres pourtant maintes fois enregistrées. [...] Notons enfin l'excellent équilibre de la prise de son, particulièrement fidèle dans la restitution des différentes parties. Elle échappe soigneusement à l'écueil de trop mettre en avant le soliste, pour mieux souligner la parfaite homogénéité de l'ensemble.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Marc Coppey nous livre une magnifique version de ces deux premiers concertos. Par la fluidité toute lumineuse de son jeu, et sa parfaite insertion au sein de son ensemble des Solistes de Zagreb, son interprétation éclaire d'un jour nouveau ces œuvres pourtant maintes fois enregistrées. [...] Notons enfin l'excellent équilibre de la prise de son, particulièrement fidèle dans la restitution des différentes parties. Elle échappe soigneusement à l'écueil de trop mettre en avant le soliste, pour mieux souligner la parfaite homogénéité de l'ensemble.

Fanfare | June 2016 | Jerry Dubins | June 1, 2016

This seems to be Haydn month, for this is the fourth release of Haydn works I’ve received for review in this issue (see also an album of Haydn operaMehr lesen

This seems to be Haydn month, for this is the fourth release of Haydn works I’ve received for review in this issue (see also an album of Haydn opera overtures with Michael Halász and the Czech Chamber Orchestra on Naxos; an album of Haydn symphonies and a violin concerto with Harry Christophers and the Handel & Haydn Society on Coro; and a disc of Haydn string quartets with the Maggini Quartet on Claudio). Haydn’s cello concertos are staples of the repertoire; the Carl Philipp Emanuel Bach, less so, though I’ve remarked in the past on what a real beauty it is.

Now in his mid-40s, Strasbourg-born cellist Marc Coppey has received positive notices in these pages, mainly in recordings of chamber works for cello and piano or as a participant in string quartets and string quintets. But I note from his discography that he has also recorded Bach’s solo cello suites for Æon in 2003, a set which does not appear to have been sent to the magazine for review.

I’ll be brief: Coppey’s Haydn is for those who like it rough. No doubt part of the problem is the recording, which captures Coppey’s cello up close—too close—revealing the gruff and grainy sound of bow on strings. But Coppey bears as much, if not more, of the responsibility for the aggressive approach that crunches and breaks chords, chops phrase endings, and whips individual notes into submission. I find it hard to listen to playing like this without gritting my teeth. Those who prefer their Haydn performed in a manner informed by period practice, even if realized on modern instruments, are not likely to appreciate Coppey’s heavy vibrato, bowing methods, and exaggerated Romantic gestures.

Over the years, I’ve heard recordings of these concertos by Jacqueline du Pré, Yo-Yo Ma, Mischa Maisky, Antonio Meneses, Truls Mørk, Jean-Guihen Queyras, Mstislav Rostropovich, Daniel Müller-Schott, János Starker, Jan Vogler, and probably half a dozen more. Some I’ve liked better than others; but my favorite, at least of the D-Major Concerto, which I don’t believe has ever been transferred to CD, is a 1953 London mono LP recording by Pierre Fournier with Karl Munchinger conducting the Stuttgart Chamber Orchestra. The performance may not be to the taste of those who prefer period instruments or at least a period-informed style of playing, but for me Fournier captures the aristocratic elegance of the work as does no one else I’ve heard.

The Zagreb Soloists, founded in 1953, is the same ensemble previously known as I Solisti di Zagreb that made a number of recordings for Vanguard under one-time conductor Antonio Janigro. Here led by cellist Marc Coppey, it is encouraged to sound like him—loud, slapdash, and coarse. Any of the above-named cellists and their orchestras is preferable to Coppey and the Zagreb Soloists in these Haydn concertos. For the C. P. E. Bach Concerto, I’d recommend Truls Mørk with the semi-period instrument Les Violons du Roy (see 35:2), Raphael Wallfisch with the Scottish Ensemble (33:5), or Timothy Hugh with the Bournemouth Sinfonietta (not reviewed but very good).

If Coppey were a young artist just starting out, I’d say that with additional study and maturity he’d refine his technique and musical judgment, but, as noted above, he’s now in his mid-40s; behavior patterns are firmly established and difficult to change. Perhaps he’s more at home in the Romantic repertoire he has recorded, such as Grieg, Richard Strauss, Maurice Emmanuel, and Théodore Dubois. On evidence of this release, Haydn and C. P. E. Bach are not Coppey’s bailiwick.
This seems to be Haydn month, for this is the fourth release of Haydn works I’ve received for review in this issue (see also an album of Haydn opera

Crescendo Magazine
Crescendo Magazine | Le 3 mai 2016 | Caroline de Mahieu, reporter de l'IMEP | May 3, 2016 Marc Coppey et les Solistes de Zagreb, une association au service de l’émotion

Les années d’association entre les Solistes de Zagreb et Marc Coppey créent une unité d’ensemble unique. En effet, une énergie se dégage de cette collaboration de longue durée et on ressent que leur travail est au service de l’émotion. Certains mouvements sont d’une virtuosité extraordinaire alors que<br /> d’autres nous transportent à l’opéra avec des envolées bel canto.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Les années d’association entre les Solistes de Zagreb et Marc Coppey créent une unité d’ensemble unique. En effet, une énergie se dégage de cette collaboration de longue durée et on ressent que leur travail est au service de l’émotion. Certains mouvements sont d’une virtuosité extraordinaire alors que
d’autres nous transportent à l’opéra avec des envolées bel canto.

www.utmisol.fr | 01.05.2016 | Danielle Anex-Cabanis | May 1, 2016 Marc Coppey et les solistes de Zagreb

S’il joue sur un violoncelle du XVIIIe siècle, Marc Coppey n’est pas un «baroqueux» forcené, sachant combiner avec finesse la tradition historique et les heureux apports d’une relecture plus moderne.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
S’il joue sur un violoncelle du XVIIIe siècle, Marc Coppey n’est pas un «baroqueux» forcené, sachant combiner avec finesse la tradition historique et les heureux apports d’une relecture plus moderne.

www.ResMusica.com
www.ResMusica.com | Le 9 avril 2016 | Alain Huc de Vaubert | April 9, 2016 Marc Coppey magnifie les concertos de Haydn avec les Solistes de Zagreb

Avec les solistes de Zagreb, dont il est le directeur artistique depuis 2011, Marc Coppey propose une version musclée des deux concertos de Haydn, assortis d’un des trois concertos pour violoncelle de Carl Philipp Emanuel Bach.Mehr lesen

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Avec les solistes de Zagreb, dont il est le directeur artistique depuis 2011, Marc Coppey propose une version musclée des deux concertos de Haydn, assortis d’un des trois concertos pour violoncelle de Carl Philipp Emanuel Bach.

Classica – le meilleur de la musique classique & de la hi-fi
Classica – le meilleur de la musique classique & de la hi-fi | n° 181 avril 2016 | B.D et J. Bi. | April 1, 2016

L'artiste met en effet son archet impérial au service des concertos pour violoncelle de Joseph Haydn et Carl Philipp Emanuel Bach (la majeur H 439). Rondeur du son, vibrato généreux, on tient là une grande version classiqueMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
L'artiste met en effet son archet impérial au service des concertos pour violoncelle de Joseph Haydn et Carl Philipp Emanuel Bach (la majeur H 439). Rondeur du son, vibrato généreux, on tient là une grande version classique

Record Geijutsu
Record Geijutsu | APR. 2016 | April 1, 2016

Japanische Rezension siehe PDF!Mehr lesen

Japanische Rezension siehe PDF!
Japanische Rezension siehe PDF!

www.pizzicato.lu | 31/03/2016 | Guy Engels | March 31, 2016 Marc Coppey: Cello-Poesie

Kann das gut gehen? Aus so viel Legato kann eigentlich nur musikalische Pampe werden. Zugegeben, ich war zu Beginn skeptisch. Doch schon bald ließMehr lesen

Kann das gut gehen? Aus so viel Legato kann eigentlich nur musikalische Pampe werden. Zugegeben, ich war zu Beginn skeptisch. Doch schon bald ließ ich mich eines Besseren belehren, ließ ich mich vom Farbenrausch begeistern und fesseln, den Marc Coppeys Cello verströmt. Coppey lässt seinen Bogen geschmeidig gleiten, zieht nie voll durch, macht nie Druck. Das Instrument kann frei atmen und seine schöne Kantabilität voll entfalten. Coppeys Musizieren hat etwas Sinnliches, ein inneres Feuer, das Haydns Musik jenes wunderbare Glimmen verleiht, jenes geheimnisvolle Licht, dem man willig folgt.

Die Interpretationen sind klar strukturiert, die Technik ist brillant, der Dialog mit dem Orchester makellos. Nur in dieser Einvernehmlichkeit, dem blinden Verständnis und Vertrauen können die vielen poetischen Glanzlichter gesetzt werden.

Dies gilt übrigens nicht nur für die beiden Haydn-Concerti sondern in gleichem Maße für das A Dur-Konzert von C.P.E. Bach.

Flexible, supple and sensually poetic performances of Cello Concertos by Haydn and CPE Bach.
Kann das gut gehen? Aus so viel Legato kann eigentlich nur musikalische Pampe werden. Zugegeben, ich war zu Beginn skeptisch. Doch schon bald ließ

www.concertonet.com
www.concertonet.com | 03/25/2016 | Sébastien Gauthier | March 25, 2016

Evidemment connu comme compositeur prolifique de musique de chambre, deMehr lesen

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Evidemment connu comme compositeur prolifique de musique de chambre, de

Gramophone
Gramophone | March 2016 | Charlotte Gardner | March 1, 2016

There are so very many recordings of Haydn’s two cello concertos, both recent and older, that any cellist who dares to add their own contribution toMehr lesen

There are so very many recordings of Haydn’s two cello concertos, both recent and older, that any cellist who dares to add their own contribution to the pile must find it almost impossible to do so without the disturbing mental image of a chorus of critics demanding that they explain themselves. It can’t be easy, and I must admit to mixed feelings myself when a new one lands on my desk; on the one hand there’s pleasure, as no amount of listening can weary me of these jewels of the cello repertoire, but there’s also an element of trepidation. Will the hours to come leave me delighted afresh or merely inspired to go scuttling back to previous favourites once the review is written?

As it happens, Marc Coppey and the Zagreb Soloists have left me somewhere betwixt and between with this recording, but more as a result of the third concerto on the disc, CPE Bach’s slightly earlier A major Cello Concerto, than because of the two Haydn concertos, which are in fact hugely enjoyable. Let’s take the Haydn pair first, these are elegant, winsomely tender performances, Coppey’s beautifully spun long lines accentuated further by his comparatively legato delivery and singing tone. The virtuosity never feels forced either, helped by the infallible, bang-on accuracy of his intonation and articulation. Moving on to the Bach, all those same qualities are there to be enjoyed in Coppey’s playing, matched by a crisp, glowing, joyful performance from the orchestra, and yet Bach’s music is capable of more dancing lightness than we hear from the cello here.
An element of this sturdiness no doubt springs in part from the amalgam of ‘historically informed’ and modern performance practices used: we’re at modern pitch (A=442kHz), Coppey is playing his 1711 gut-strung Matteo Goffriller with a modern bow, while the orchestra are on gut-strung modern instruments but using natural horns. Still, I suspect it’s largely down to Coppey, and in fact the recording’s overall balance and blend are very satisfying, helped further by the subtly supportive acoustic of Zagreb’s Lisinsku Small Hall.
There are so very many recordings of Haydn’s two cello concertos, both recent and older, that any cellist who dares to add their own contribution to

Musikzen | samedi 27 fevrier 2016 | Marc Vignal | February 27, 2016 Marc Coppey dans l'esprit de Joseph Haydn
Cello Concertos

Marc Coppey joue de façon incisive, pointue, nerveuse, tout à fait conforme à l’esprit du compositeur.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Marc Coppey joue de façon incisive, pointue, nerveuse, tout à fait conforme à l’esprit du compositeur.

http://theclassicalreviewer.blogspot.de | Wednesday, 10 February 2016 | Bruce Reader | February 10, 2016 A very recommendable recording of cello concertos by Haydn and CPE Bach from Marc Coppey and the Zagreb Soloists on their debut recording for Audite

This performance could secure a whole new following for this fine cello concerto.<br /> Marc Coppey and the Zagreb Soloists deliver a freshness that brings this music alive. They gain so much in terms of clarity and ensemble with this small orchestra.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
This performance could secure a whole new following for this fine cello concerto.
Marc Coppey and the Zagreb Soloists deliver a freshness that brings this music alive. They gain so much in terms of clarity and ensemble with this small orchestra.

www.artalinna.com | 7 février 2016 | Jean-Charles Hoffelé | February 7, 2016 Le Soleil d’Esterházy

C’est le même geste où rien ne pèse que le violoncelliste impose aux deux Concertos, lecture alerte que son archet plein d’imagination, phrasant capricieux et parlant dans les lignes de chant, pique d’une fantaisie certaine. Ses solistes respirent avec lui, du même geste, mais ce qui surprend c’est le son de sa grande caisseMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
C’est le même geste où rien ne pèse que le violoncelliste impose aux deux Concertos, lecture alerte que son archet plein d’imagination, phrasant capricieux et parlant dans les lignes de chant, pique d’une fantaisie certaine. Ses solistes respirent avec lui, du même geste, mais ce qui surprend c’est le son de sa grande caisse

France Musique | le mardi 2 février 2016 | February 2, 2016 BROADCAST
Nikolaus Harnoncourt, la révolution baroque (2/5)

Programmation musicale Mehr lesen

Programmation musicale
Programmation musicale

ClicMag
ClicMag | N° 35 Février 2016 | Jean-Charles Hoffelé | February 1, 2016 En couverture

C’est le meme geste où rien ne pèse que le viloncelliste impose aux deux Concertos, lecture alerte que son archet plein d’imagination, phrasant capricieux et parlant dans les lignes de chant, pique d’une fantaisie certaine. Ses solistes respirent avec lui, du même geste, mais ce qui surprend c’est le son de sa grande caisse – un Matteo Goffriller somptueux, dont les registres si contrastés chantent naturellement ; si plein si ample, qui se plie à la moindre inflexion de la main droite. Fut-il jamais si bien capté ? Les micros de Ludger Böckenhoff en saisissent toutes les nuances, et ce violoncello vous parle, capricieux ou rêveur.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
C’est le meme geste où rien ne pèse que le viloncelliste impose aux deux Concertos, lecture alerte que son archet plein d’imagination, phrasant capricieux et parlant dans les lignes de chant, pique d’une fantaisie certaine. Ses solistes respirent avec lui, du même geste, mais ce qui surprend c’est le son de sa grande caisse – un Matteo Goffriller somptueux, dont les registres si contrastés chantent naturellement ; si plein si ample, qui se plie à la moindre inflexion de la main droite. Fut-il jamais si bien capté ? Les micros de Ludger Böckenhoff en saisissent toutes les nuances, et ce violoncello vous parle, capricieux ou rêveur.

Radio Classique | février 2016 | February 1, 2016 Marc Coppey joue les Concertos pour violoncelle n°1 et 2 de Haydn

Le violoncelliste qualifie Haydn de « joyau de la couronne », et cette admiration se ressent dans son interprétation – empreinte de respect et surtout, de précision.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Le violoncelliste qualifie Haydn de « joyau de la couronne », et cette admiration se ressent dans son interprétation – empreinte de respect et surtout, de précision.

BBC Radio 3
BBC Radio 3 | Wed 27 Jan 2016, 16:30 | Suzy Klein | January 27, 2016 BROADCAST
Wednesday - Suzy Klein

Suzy Klein presents a lively mix of music, chat and arts news, including live performance from Tenebrae Consort ahead of their concert at the London AMehr lesen

Suzy Klein presents a lively mix of music, chat and arts news, including live performance from Tenebrae Consort ahead of their concert at the London A Cappella Festival.
Suzy Klein presents a lively mix of music, chat and arts news, including live performance from Tenebrae Consort ahead of their concert at the London A

Merchant Infos

Marc Coppey & The Zagreb Soloists: Cello Concertos by J. Haydn and C. P. E. Bach
article number: 97.716
EAN barcode: 4022143977168
price group: BCA
release date: 12. January 2016
total time: 67 min.

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