Narrow my search:
From
HI-RES$28.09
CD$24.09
J.S. Bach: Goldberg Variations
Víkingur Ólafsson
Classical - Released October 6, 2023 | Deutsche Grammophon (DG)
Hi-Res
Booklet
Distinctions
Qobuz Album of the Week
Complete recordings of great works such as Bach’s sonatas, his “Well-Tempered Clavier,” or Chopin’s “24 Preludes” occupy a unique place within the history of musical recording. It’s in their entirety that they are most unique and powerful, whereas in the purity of their repertoire, individual pieces are generally regarded as being largely heterogeneous. These timeless compositions transcend their authors and are given new life with each interpretation, and such is the case with Bach’s “Goldberg Variations.” Published in 1741, as the fourth and last part of his Clavier-Übung, the “Goldberg Variations” still remain, almost 300 years later, amongst the baroque master’s most important works, not only for the history of musical composition and recording in general (Glenn Gould, Trevor Pinnock, Rosalyn Tureck, and many others come to mind), but also for Víkingur Ólafsson in particular. “I’ve been dreaming of recording this work for 25 years,” says the Icelandic pianist, thus confirming that these studies are more a life’s work than a whim.Beginning with a melody that’s simple in appearance, the work is spread over a total of 30 variations, becoming a masterpiece of complexity. Determined, at surface level, by a rigid formal framework, the material itself nevertheless demands a “sort of interpretive improvisation”. Ólafsson recognises this paradox and makes it his own not by interpreting the different variations with technical precision and a strict loyalty to the metronome, but rather by following cyclical impulses and organic interpretation. At the same time, he evolves with the work and transcends it, whether in the creativity of the fugues or the complexity of the different canons, which influence one another, rely on one another, and, finally, like a parabola, return to the first melody and the beginning of all that had transpired previously - like the ebb and flow of the Icelandic ocean, whose waves we know will always return to shore, but whose calm or strength we can never be sure of. © Lena Germann/Qobuz
From
HI-RES$21.09
CD$18.09
Carl Philipp Emanuel Bach
Keith Jarrett
Classical - Released June 30, 2023 | ECM New Series
Hi-Res
Booklet
Distinctions
Qobuz Album of the Week
Composed between 1742 and 1744, the Württemberg Sonatas, named after their dedicatee, provide a link between late Baroque and Empfindsamkeit (in German: sensitivity, feeling). This artistic movement precedes the so-called classical period and is characterised for prioritising contrasting moods in its tempos, melodies, and timbral variations. Significantly influenced by the legacy of Bach Senior, for whom Carl Philipp Emmanuel had boundless admiration, these sonatas showcase an elegant inflection in the work of C.P.E Bach felt due to his desire to bring together the emotional expressiveness and mathematical rigour of counterpoint writing. This duality is particularly noticeable between the different movements, as evidenced by Sonata No. 1 in A minor H.30, and the first two movements, Moderato and Andante, which are ample and fluid. These succeed an Allegra assai with a much squarer musical meter.ECM gifts us an invaluable sonata in his previously unreleased version, recorded by the great Keith Jarrett at Studio Cavelight (New Jersey) in May 1994. Knowing that the American pianist was forced into early retirement by two strokes in 2018, any new release leaves us with a somewhat heartbreaking bittersweet taste. Just like this album, where elegiac and triumphant styles come together as one. Far from bounding and elastic sonorities that are the inimitable trademark of the Köln Concert father, this production, with its spotless sound recording, offers listeners all the joys of a piano with incredible musical roundness. Jarrett's touch is striking; with his subtle understanding of harmonious interplay, his composition really touches the heart. We already knew about Jarrett's biting, unpredictable, and rebellious phrasing. This record proves to be just as brilliant in sobriety and economy and is stunningly beautiful. © Pierre Lamy/Qobuz
From
HI-RES$21.09
CD$18.09
Johann Sebastian Bach
Víkingur Ólafsson
Solo Piano - Released September 7, 2018 | Deutsche Grammophon (DG)
Hi-Res
Booklet
Distinctions
Gramophone Editor's Choice
From
HI-RES$18.09
CD$15.69
Bach: The Goldberg Variations (1981) - Gould Remastered
Glenn Gould
Solo Piano - Released September 2, 1982 | Sony Classical
Hi-Res
Booklet
Distinctions
The Qobuz Ideal Discography
While Glenn Gould's 1955 debut recording of Bach's Goldberg Variations has attained legendary status, there are many devoted fans who rank the 1981 recording just as highly, even though it offers a dramatically different interpretation. This album was made shortly before the pianist's premature death at age 50, so it is significant for being his last recording; indeed, the opening measures of the Aria are carved on Gould's headstone, in final recognition of the work's importance to him, so these two recordings may be regarded as bookends to the pianist's extraordinary career. Gould's tempos are slower and more measured in the 1981 performance, and the observance of some repeats here also differs from the earlier version. On the whole, the 1981 performance is reflective and carefully considered, in contrast with the technical brilliance and impulsive energy of the first. Gould's background humming is common to both Goldbergs, and even though the technology existed at the time of this recording to remove it, Gould kept it in, for fear of losing the piano's full sound. This eccentricity may be off-putting to some listeners, but there are so many fine points in Gould's playing that it must be overlooked to appreciate the true value of his playing and his understanding of Bach, which is original by any standard. Columbia's reproduction is crisp and clear, in keeping with Gould's wishes.© TiVo
From
HI-RES$21.09
CD$18.09
Dance of the Elders
Wolfgang Muthspiel
Jazz - Released September 29, 2023 | ECM
Hi-Res
Booklet
Discovered in the mid-90s through his contributions to several of his brother Christian’s records and a series of prestigious collaborations as a sideman (Mick Goodrick, Marc Johnson, Paul Motian…), Austrian guitarist Wolfgang Muthspiel has been part of the highly selective brotherhood of musicians under ECM, since the release of his trio album Driftwood in 2014. After two albums (Rising Grace released in 2016 and Where the River Goes in 2018) that introduced him as the head of a flamboyant quintet, including most notably Brad Mehldau on piano and Ambrose Akinmusire on trumpet, the guitarist returned in 2018 with Angular Blues, following the more minimalist trio structure, featuring his longtime collaborator Brian Blade on drums and Schott Colley on bass.The same orchestra can be found today on Dance of the Elders, with music that’s just as subtly refined and powerfully poetic. Going from electric to acoustic guitar with a great sense of colour and nuanced dynamics, Muthspiel, apart from a cover of Kurt Weil’s Liebeslied and a magnificent version of Joni Mitchell’s song “Amalia” which closes the album, focuses on his own compositions. Around a perfectly mastered grammar of jazz, he gracefully mixes and matches influences from baroque (“Prelude to Bach”), pop (“Invocation”), and folk music (“Folksong”). Putting his reverberating sonorities, the science of his harmonies, and his phrasing that’s at once fluid and subtly uneven, at the service of an always collective discourse, the guitarist has created a record that’s both serene and profound, rigorous and meditative. © Stéphane Ollivier/Qobuz
From
HI-RES$21.99
CD$16.99
C.P.E. Bach: Sonatas for Keyboard & Violin
Rachel Podger
Classical - Released April 28, 2023 | Channel Classics
Hi-Res
Booklet
Mozart said that anyone who looked hard enough would hear the ways in which he was influenced by Carl Philipp Emanuel Bach, but in the case of the sonatas for violin and piano of Bach's eldest son, one doesn't have to look very hard. Although it was beginning to break free, the violin in Mozart's sonatas still had a basically accompanimental function in most of them, and the title used in Mozart's time (and as far forward as Beethoven), "sonata for pianoforte and violin," was entirely appropriate. With the sonatas of C.P.E. Bach, however, the violin, for the most part, has a fully independent role and even controls the proceedings. Consider the first movement of the Violin Sonata in C minor, H. 514, Wq 78, as an example. Partly this is because C.P.E., even late in life, drew to some extent on Baroque models; he was offering not light classical keyboard pieces adorned by a violin but works influenced by violin-and-harpsichord sonatas from earlier in the 18th century. Some of these were by J.S. Bach, and violinist Rachel Podger and keyboardist Kristian Bezuidenhout do well to offer the Violin Sonata in G minor, H. 542.5, the earliest piece on the album and one that has been attributed to both C.P.E. and J.S. Bach. It is a fascinating little slice of the family lore, and it seems most likely to have been a teaching piece of some kind. Podger's 1739 Pesarinius violin is an expressive instrument, and Bezuidenhout plays two instruments with some muscle, a copy of a Walter fortepiano by the builder Paul McNulty in the later pieces and a double-manual harpsichord by Keith Hill in the earlier one. The latter especially seems to fit C.P.E.'s jagged style to a T, and even listeners less familiar with the stylistic issues will find this an unusually satisfying recording; enough did so to place this album on classical best-seller lists in the spring of 2023.
© James Manheim /TiVo
From
HI-RES$21.99
CD$16.99
Bach & l'Italie
Justin Taylor
Classical - Released September 15, 2023 | Alpha Classics
Hi-Res
Booklet
Distinctions
Diapason d'or
It is well known that Bach was fascinated by the Italian style, which he explored via a group of transcriptions and that influenced his own music deeply. His transcriptions for keyboard of Vivaldi concertos of various kinds show up on concert programs often enough, but few musicians have explored the phenomenon in so much depth and with so much flair as harpsichordist Justin Taylor. He does include transcriptions of Vivaldi concertos and the Italian Concerto, BWV 971, the work in which Bach distilled the Italian influences into a brilliant idiom of his own. Yet, he also shows other strands of Italian influence. There is a Toccata for harpsichord by Alessandro Scarlatti that fits nicely with Bach's improvisatory pieces like the Concerto in G major, BWV 973, somewhat frustratingly shorn of its fugue. He also contributes a transcription of his own of a Vivaldi flute concerto, seemingly trying to enter into Bach's frame of mind. Taylor's playing is energetic and bright, with a strong feel for the keyboardistic quality of Bach's music, and it is really quite fresh in its approach. Also notable is his harpsichord, an instrument resident at France's Château d'Assas, where the album was splendidly recorded. It is tuned a full step down from modern pitch, with some crunchy intervals that add tension to the music (it might have been good to have more information about the tuning). An extremely exciting Bach release, equally successful in conception and execution.© James Manheim /TiVo
From
HI-RES$30.69
CD$26.59
Six Evolutions - Bach: Cello Suites
Yo-Yo Ma
Chamber Music - Released August 17, 2018 | Sony Classical
Hi-Res
Booklet
Distinctions
5 de Diapason -
Gramophone Editor's Choice
What do you mean, “Six evolutions”? It’s an intriguing title, almost esoteric… The cellist Yo-Yo Ma, who needs no introduction after a worldwide career of some fifty years, pens here his third (and ultimate, according to him) recording of Bach’s Solo Cello Suites. The first, while he was in his twenties, gave rise to enthusiasm, the second—in his forties—gave rise to emotion, so what will this final vision give rise to, now that he is in his late sixties? Serenity and joy, probably, and the completion of a triple discographic evolution. That being said, we still cannot explain the “Six evolutions”, and you will have to dive into a small corner of the accompanying booklet to find an indication, giving little more information, it is true, since it comes with no clarification: 1) Nature is at play, 2) Journey toward the light, 3) Celebration, 4) Construction/Development, 5) The struggle for hope, and 6) Epiphany. Well… Whatever it be, and despite what he said—and the amazing quality of this interpretation—let’s meet in 2038 to find out if he doesn’t decide to give a new interpretation in his eighties! © SM/Qobuz
From
HI-RES$22.79
CD$19.59
Bach, Bologne, Previn, Vivaldi, Williams
Anne-Sophie Mutter
Classical - Released November 10, 2023 | Deutsche Grammophon (DG)
Hi-Res
Booklet
Hand it to violinist Anne-Sophie Mutter. At an age when many performers are content to rest on their laurels, she has stepped out into new territory, forming Mutter's Virtuosi, an ensemble of young players connected to her Anne-Sophie Mutter Foundation. Moreover, she has tentatively incorporated influences from the historical performance movement, although she does not play an early violin in the mostly Baroque and Classical-era program here. Sample the fierce attacks in the Vivaldi Concerto for three violins and orchestra, RV 551, or, for that matter, the Four Seasons movement that is included as one of the encores. Leading Mutter's Virtuosi from the violin, she draws a nice contrast between Vivaldi and Bach; the latter, even as influenced as he was by the Italian manner, never adopted the full-scale sense of operatic drama. Mutter also leads the group in the intriguing Nonet by André Previn, her ex-husband, which, while not a Baroque work, has a neoclassical sense of symmetry with its two string groups pivoting on a single double bass. Among the three encores are also two pieces by John Williams, arranged for Mutter by the composer. The program proper ends with the Violin Concerto No. 2 in A major, Op. 5, of Joseph Boulogne (or Bologne), Chevalier de Saint-Georges, the hot Caribbean-French composer of Mozart's day; Mutter delivers probably the best available performance of this rather grand work. One might take issue with this or that here, but the plain fact is that the album, taken from a live 2022 performance at the Vienna Musikverein, is a great deal of fun and shows this great violinist in fine form as she passes on her secrets to young followers. This album made classical best-seller charts in the late autumn of 2023.© James Manheim /TiVo
From
HI-RES$22.99
CD$17.99
J.S. Bach: The Art of Fugue
Cuarteto Casals
Quartets - Released June 9, 2023 | harmonia mundi
Hi-Res
Booklet
Distinctions
Diapason d'or
The German poet Goethe said, and is duly quoted in the booklet here, that a string quartet is "a spirited conversation among four reasonable people." That is not what Bach's Art of Fugue is, but string quartets seem impelled to keep performing the work, and audiences buy the move; the rarefied air of the string quartet seems to fit with Bach's contrapuntal mysteries somehow. This release by the Cuarteto Casals made classical best-seller charts in the late spring of 2023. It is one of the better string quartet attempts, both hewing to and departing from the work's Baroque character. First violinist Abel Tomás Realp mostly cultivates a glassy sound with little vibrato, as if his line were being played on an organ, but the other players allow themselves to be more expressive. The general approach is deliberate, and the members speak at length in the interview-style booklet about the necessity for deep contemplation in approaching the work. It is almost as if the group is seeking to clarify its contrapuntal intricacies. The music broadens out in the four canons, which are placed at the end right before the final fugue. That is given a little conclusion rather than being left hanging, as in Bach's unfinished manuscript, and it leads into the chorale Vor deinen Thron tret' ich, BWV 668, which Bach himself might have intended. The sound from Spain's Cardona monastery fits with the goals of the performance, which is to add a new layer of mystery to this perennially troublesome work.© James Manheim /TiVo
From
HI-RES$21.09
CD$18.09
Bach: Violin Sonatas Nos. 1 & 2 - Partita No. 1
Hilary Hahn
Violin Solos - Released October 5, 2018 | Decca Music Group Ltd.
Hi-Res
Booklet
Distinctions
5 de Diapason -
Gramophone: Recording of the Month
A student of the last student of Ysaÿe, American violinist Hilary Hahn has played Bach's solo violin music since she was nine, and inaugurated her recording career seven years later with a recording of half the cycle of six, in 1997. That recording rightly won acclaim with its flawless technique and Apollonian lines straight out of the best of the French violin school. Uniquely, she has returned to complete the set 21 years later, and the results are marvelous. It's sometimes hard to pin down the ways in which Hahn's style has changed, but it has to do with a kind of inner relaxation, with a willingness to let the meter vary a bit and pick it up again in the longer line. The flawless tone is still there, but it's not so much an end in itself. It's not an accident that some of the graphics picture Hahn smiling, nor that her quite relevant notes to the album detail the long creative process that went into making it. Sample anywhere, but you could try the very beginning, the first movement of the Sonata for solo violin No. 1 in G minor, BWV 1001, where Hahn takes just a bit of time, draws you in, and lets the rest of the movement flow from there. Decca's engineers do excellent work in a Bard College auditorium that one might not have picked as a venue for this. A superb release from one of the preeminent violinists of our time.© TiVo
From
HI-RES$24.99
CD$17.99
Bach : Violin Concertos
Isabelle Faust
Violin Concertos - Released March 15, 2019 | harmonia mundi
Hi-Res
Booklet
Distinctions
5 de Diapason -
Gramophone Editor's Choice -
5 Sterne Fono Forum Klassik
After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, here is the next instalment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43. This fascinating achievement is a timely reminder that the master of The Well-Tempered Clavier was also a virtuoso violinist! © harmonia mundi
From
HI-RES$17.49
CD$13.99
Bach: Die Kunst der Fuge
Christophe Rousset
Classical - Released October 13, 2023 | Aparté
Hi-Res
Booklet
Bach's Die Kunst der Fuge ("The Art of the Fugue") has been played on the piano and in various ensemble transcriptions, including some for the anachronistic string quartet. Harpsichord versions began to appear in the third quarter of the 20th century as players from the Netherlands, especially, began to explore the instrument's history and capabilities. Early music lovers of the day may recall Gustav Leonhardt's version of the work, released on the Musical Heritage Society label and eagerly awaited in that imprint's monthly mailings. It was scholarly, rather severe, and quite engrossing. This version by keyboardist Christophe Rousset follows Leonhardt in several respects. The fugue sections (called "contrapunctus") are all grouped together, followed by the canons, and there is no effort to reduce the work's forbidding abstract quality. Annotator Gaëtan Naulleau quotes musicologist Charles Rosen to the effect that The Art of the Fugue is "above all, a work to be played for oneself, to be felt under one's fingers as much as listened to." Rousset omits the final unfinished triple fugue, although most performers nowadays try to find a place for it in some way, and he adds a second harpsichordist, Korneel Bernolet, on the two mirror fugues. Rousset's Art of the Fugue is intense and inward, and a rather over-resonant hall at the Hôtel de l'Industrie in Paris is not quite the right place for it. Yet, in some ways, Rousset's reading is friendlier than Leonhardt's and even offers a bit of flair. He plays an unusual instrument, a harpsichord from 1750 held in an unnamed collection. This was (at least supposedly), of course, exactly the year in which Bach worked on this swan song, and the instrument has a muscular sound and gives one the feeling that Bach would have found it ideal. It is powerful, a bit rounded, and in tune with the epic nature of the work without losing its interiority. This is a major statement on The Art of the Fugue, rooted in the past but not really like any other version.© James Manheim /TiVo
From
HI-RES$21.09
CD$18.09
Rachmaninov : Piano Concertos 2, 4 - Bach-Rachmaninov : Partita BWV 1006
Daniil Trifonov
Classical - Released October 12, 2018 | Deutsche Grammophon (DG)
Hi-Res
Booklet
Distinctions
Diapason d'or de l'année -
Diapason d'or -
Le Choix de France Musique -
Choc de Classica
The Philadelphia Orchestra has been named "Gramophone's Orchestra of the Year 2020".
From
HI-RES$21.99
CD$16.99
Herz und Mund und Tat und Leben - Bach: Cantatas BWV 6-99-147
Collegium Vocale Gent
Classical - Released September 1, 2023 | Phi
Hi-Res
Booklet
Distinctions
4F de Télérama
From
HI-RES$24.71
CD$19.77
Bach : Violin Sonatas & Partitas
Christian Tetzlaff
Violin Solos - Released September 8, 2017 | Ondine
Hi-Res
Booklet
Distinctions
Diapason d'or de l'année -
Diapason d'or -
Le Choix de France Musique -
Choc de Classica -
5 Sterne Fono Forum Klassik
Of course, since years Bach’s Sonatas and Partitas for solo violin have been recorded over and over again, including by world’s best and most prestigious solists. But when violinist Christian Tetzlaff releases a brand new recording, we can only say: “Friends, countrymen, lend Qobuz your ears”. Concerts with Christian Tetzlaff often become an existential experience for interpreter and audience alike; old familiar works suddenly appear in an entirely new light, also – of course – within the frame of a new studio recording such as this one. Essential to Tetzlaff’s approach are the courage to take risks, technical brilliance, openness and alertness to life. Such an interpretation becomes a real challenge for the aficionado and guarantees a brilliant musical adventure.
From
HI-RES$21.99
CD$16.99
Bach: Goldberg Variations Reimagined
Rachel Podger
Classical - Released October 20, 2023 | Channel Classics
Hi-Res
Booklet
One may well wonder why (or whether) a non-keyboard version of Bach's Goldberg Variations, BWV 988, arguably at the apex of the entire tradition of keyboard music, is at all needed. However, Baroque violinist Rachel Podger and Brecon Baroque member Chad Kelly, who "reimagined" the work (arranged is not a strong enough word), offer several justifications for their deployment of the Variations across various kinds of chamber music here. "Despite what many respected and respectful commentators have propagated," Kelly says, "it is not a sacrosanct work of pure, absolute and abstract art." Kelly seeks to use the varied settings to clarify Bach's counterpoint, to examine the musical influences that were in the air when Bach wrote the work, and to "be idiomatic to the historical instruments used in its performance and to the individual styles and genres referenced in the work." All this involves rewriting certain passages. That is a lot to ask, but generally, Kelly and Podger make it work. There are just 18 tracks, with several variations often combined into a little suite. This tends to deemphasize the tripartite structure of the variations, with a canon every third variation. Listeners can make up their own mind about that, but most will be impressed enough by the smooth Baroque winds in the slower variations, especially the crucial Adagio Variation 26, that they will be won over by this unorthodox effort. This release made classical best-seller charts in the autumn of 2023.© James Manheim /TiVo
From
HI-RES$37.47
CD$29.97
J. S. Bach: Matthäus-Passion, BWV 244
Raphaël Pichon
Sacred Oratorios - Released March 11, 2022 | harmonia mundi
Hi-Res
Booklet
Distinctions
Gramophone: Recording of the Month
From the opening chorus, it’s clear that Raphaël Pichon and his Pygmalion ensemble are sensitive to nuance. They present a work filled with details and colours that would be seen as unusual in the contemporary era, which tends to be characterised by musical breadth and density of sound. The soft inflections, the sudden brightening of textures and the chamber choir sound gives this version of Passion something unique. In retrospect, this composition has become the epitome of 18th century religious dramatic expression. Bach’s work here is somewhat similar to the Passions, composed by Georg Philipp Telemann, though these are smaller in number and are sometimes more varied in terms of instruments. It’s also in keeping with the tormented outlook of Membra Jesu nostri by Dietrich Buxtehude.There are some staggering moments coupled with a kind of unknown and unexpected poetry. The pre-drama and post-drama are home to the most intense moments of Raphaël Pichon’s proposal, which culminates in chorales such as O Haupt voll Blut und Wunden (No. 54) and Wenn ich einmal soll scheiden (No. 62). The latter offers a sublime moment in which we viscerally feel Christianity’s deep distress; we hear it sob and weep before it finds relief in Wahrlich, dieser ist Gottes Sohn gewesen (No. 63). Just a few moments prior, the recitative and aria that comes before the Golgotha Ach, Golgatha… Sehet, Jesus hat die Hand (No. 60) finds a striking expression of truth in Lucile Richardot’s haunting voice – and she was already disturbing in the opening Buß und Reu (No. 6).By choosing simplicity and raw poetry, the drama lacks the use of contrasting accents and the power of the incredible versions by Nikolaus Harnoncourt (recorded in Das Alte Werk, 1970 and 2000). The soloists are magnificent here, especially the women! Julian Prégardien’s mastery, commitment and loyalty to the original word is nothing if not impressive: he brings a gritty humanity to this Passion, something rarely heard since Wunderlich, Haefliger and Equiluz. © Pierre-Yves Lascar/Qobuz
From
HI-RES$18.09
CD$15.69
Bach
Thibault Cauvin
Classical - Released February 3, 2023 | Sony Classical
Hi-Res
Booklet
Johann Sebastian Bach, champion of the art of arrangement (of both his own and others’ music), has largely paved the way for today's transcribers, protecting them from the risk of being labelled as transgressors or iconoclasts. Played by the guitarist Thibault Cauvin, this album follows suit, replete with novel arrangements almost entirely written by Thibault’s brother Jordan. Thibault Cauvin is acclaimed worldwide as a true phenomenon, having won more awards than any other guitarist. For him, recording Bach's music is a kind of overwhelming journey of initiation into the realm of beauty. He explains this with passion and lyricism: "Like an adventurer setting out on the discovery of new territories, when you lay down the first chord, stepping into this ocean, you get the sense you are pushing off the quay, beginning a miraculous saga. Of course, Bach’s music can be wise, cerebral, impressive, but it is also always obvious and universal. I wanted to rediscover the wisdom of childhood by recording this album in the Dordogne, where I always went on holiday as a boy; to rediscover that joy, that light, that gentle serenity.”This long-awaited album begins with the famous, monumental Toccata and Fugue in D minor, which remain for many THE archetypal organ works. Far from the flamboyant orchestration that Leopold Stokowski created for Walt Disney's 1940 film Fantasia, here it is rendered note for note in the intimacy of the guitar alone, which makes every line and every counterpoint explicit. The rest of the album, from the Well-Tempered Clavier, a Suite for solo cello, and the Second Partita for violin (played in its entirety with the legendary Chaconne, completing this great inner journey), is to be listened to as a complete work, leaving Thibault Cauvin to guide you with his subtle and inspired playing through the work of one of the greatest musical minds of all time. © François Hudry/Qobuz
From
HI-RES$97.29
CD$90.09
Beethoven: 9 Symphonies
Leonard Bernstein
Symphonies - Released January 2, 1980 | Deutsche Grammophon (DG)
Hi-Res
Booklet
Suppose you have a more precise idea of what you want. If you are searching for the album "Bad" by Michael Jackson, type michael jackson bad. The album in question will be displayed at the top, as it is the most relevant.
By default, search results are sorted in order of relevance. The drop-down menu to the right of "Sort by" allows you to display the results in the desired order.