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Brahms: Ein Deutsches Requiem, Op. 45 by Otto Klemperer

Otto Klemperer

Classical - Released February 10, 2022 | Alexandre Bak - Classical Music Reference Recording

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Brahms: Vier Ernste Gesänge, Op. 121

Marie-Claude Chappuis

Classical - Released May 26, 2023 | Prospero Classical

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Brahms: La belle Maguelone

Stéphane Degout

Classical - Released October 6, 2023 | B Records

Hi-Res Booklet Distinctions 4F de Télérama
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Brahms: Complete Liebeslieder Walzer, Op. 52 & 65, Hungarian Dances

Rias Kammerchor

Choral Music (Choirs) - Released November 4, 2022 | harmonia mundi

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In these love songs in waltz style for chorus or solo voices accompanied by piano four hands, Brahms freely indulged his taste for Viennese folk music. The RIAS-Kammerchor instils a wonderful inner life in these musical landscapes, sometimes cheerful, sometimes melancholy, punctuated here by a selection from the Hungarian Dances – also eminently popular in their inspiration. © harmonia mundi
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Brahms: Lieder

Bernarda Fink

Classical - Released November 6, 2007 | harmonia mundi

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Brahms: Ein deutsches Requiem, Op. 45

Otto Klemperer

Classical - Released January 1, 1961 | Warner Classics

It doesn't take long, listening to this recording of Brahms' Ein deutsches Requiem with Otto Klemperer leading the Philharmonia Orchestra and Chorus, to understand its iconic status as one of the outstanding recordings of the work. In the opening measures of the first movement, "Selig sind, die da Leid tragen," Klemperer creates an ethereally transparent texture that blossoms throughout the movement into a mood of luminous serenity. That quality is even more pronounced in the transcendent tranquility of the fourth movement, "Wie Lieblich sind deine Wohnungen." In the second movement, "Den alles Fleisch, es ist wie Gras," Klemperer cuts loose in the build up to the apocalyptic second choral statement of the theme, which has an overwhelmingly ominous power, a power that he summons again in the forceful sixth movement, "Denn wir haben keine bleibende Stadt." Klemperer handles the composers' tricky tempos shifts with complete assurance, so that they seem entirely inevitable. Throughout, Klemperer demonstrates his profound understanding of the musical and emotional richness and complexity of Brahms' masterpiece. The orchestra and chorus respond to his leadership with complete attentiveness and deliver nuanced and passionate performances. Baritone Dietrich Fischer-Dieskau's investment in the music is evident in his warm tone, shapely phrasing, and the dramatic urgency of his performance. Soprano Elizabeth Schwartzkopf's voice did not have all the bloom and flexibility of its prime, but she brings a floating lightness to her solo, "Ihr habt nun Traurigkeit." Produced by Walter Legge and engineered by Douglas Larter, the recording was state-of- the-art when it was recorded in 1961, and the 1997 digital remastering brings it to a standard that should satisfy most listeners. The sound is transparent in the quieter moments, and round and rich in the fuller sections, and always clear and clean. This recording is a must-have for fans of Brahms' Requiem and of outstanding choral performances.© TiVo
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Lieder (Beethoven, Brahms, Schubert, Schumann...)

Fritz Wunderlich

Lieder (German) - Released September 14, 2018 | SWR Classic

Booklet Distinctions Diapason d'or

Heimat (Schubert, Wolf, Brahms, Reger, Grieg, Britten...)

Benjamin Appl

Art Songs, Mélodies & Lieder - Released March 10, 2017 | Sony Music Classical Local

Booklet Distinctions Gramophone Award - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Brahms: Lieder

Bernarda Fink

Art Songs, Mélodies & Lieder - Released November 6, 2007 | harmonia mundi

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Brahms : Ein deutsches Requiem (Un Requiem allemand)

Otto Klemperer

Classical - Released January 1, 1961 | Warner Classics

It doesn't take long, listening to this recording of Brahms' Ein deutsches Requiem with Otto Klemperer leading the Philharmonia Orchestra and Chorus, to understand its iconic status as one of the outstanding recordings of the work. In the opening measures of the first movement, "Selig sind, die da Leid tragen," Klemperer creates an ethereally transparent texture that blossoms throughout the movement into a mood of luminous serenity. That quality is even more pronounced in the transcendent tranquility of the fourth movement, "Wie Lieblich sind deine Wohnungen." In the second movement, "Den alles Fleisch, es ist wie Gras," Klemperer cuts loose in the build up to the apocalyptic second choral statement of the theme, which has an overwhelmingly ominous power, a power that he summons again in the forceful sixth movement, "Denn wir haben keine bleibende Stadt." Klemperer handles the composers' tricky tempos shifts with complete assurance, so that they seem entirely inevitable. Throughout, Klemperer demonstrates his profound understanding of the musical and emotional richness and complexity of Brahms' masterpiece. The orchestra and chorus respond to his leadership with complete attentiveness and deliver nuanced and passionate performances. Baritone Dietrich Fischer-Dieskau's investment in the music is evident in his warm tone, shapely phrasing, and the dramatic urgency of his performance. Soprano Elizabeth Schwartzkopf's voice did not have all the bloom and flexibility of its prime, but she brings a floating lightness to her solo, "Ihr habt nun Traurigkeit." Produced by Walter Legge and engineered by Douglas Larter, the recording was state-of- the-art when it was recorded in 1961, and the 1997 digital remastering brings it to a standard that should satisfy most listeners. The sound is transparent in the quieter moments, and round and rich in the fuller sections, and always clear and clean. This recording is a must-have for fans of Brahms' Requiem and of outstanding choral performances.© TiVo

Brahms: Lieder

Margaret Price

Classical - Released January 1, 2016 | Orfeo

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Johannes Brahms: Liebeslieder Walzers Op. 52a for piano four hands

Duo Ping Ting

Classical - Released March 9, 2017 | Duo Ping Ting

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Encounter

Igor Levit

Classical - Released September 11, 2020 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or / Arte
The latest album ‘Encounter’ by the German-Russian pianist is a particularly astonishing one, blending the diverse works of great composers such as Bach, Brahms and Morton Feldman. While the 2020 health crisis, due to the covid19 virus, has caused great anxiety among the general population it has also ignited the imagination of artists and musicians alike. Locked down in his apartment like so many us, the pianist Igor Levitt broadcasted a daily, live performance on his social media, even going as far as playing a 20 hour piece, Vexations by Erik Satie. ‘Encounter’, the product of Levitt’s self-isolation during lockdown, brings together an intelligent and pleasing array of composers. From Bach arranged by Busoni at the Palais de Mari, or the latest work from Morton Feldman for solo piano, to Brahms arranged by Reger, these are intimate connections between composers, as much as they are moments of solidarity at a time or great loneliness and isolation. Levitt’s poignant introspection and devotion to humanity shines throughout his album. © François Hudry/Qobuz
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Brahms: A German Requiem, Op. 45

Elisabeth Schwarzkopf

Classical - Released January 1, 1991 | Warner Classics

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It doesn't take long, listening to this recording of Brahms' Ein deutsches Requiem with Otto Klemperer leading the Philharmonia Orchestra and Chorus, to understand its iconic status as one of the outstanding recordings of the work. In the opening measures of the first movement, "Selig sind, die da Leid tragen," Klemperer creates an ethereally transparent texture that blossoms throughout the movement into a mood of luminous serenity. That quality is even more pronounced in the transcendent tranquility of the fourth movement, "Wie Lieblich sind deine Wohnungen." In the second movement, "Den alles Fleisch, es ist wie Gras," Klemperer cuts loose in the build up to the apocalyptic second choral statement of the theme, which has an overwhelmingly ominous power, a power that he summons again in the forceful sixth movement, "Denn wir haben keine bleibende Stadt." Klemperer handles the composers' tricky tempos shifts with complete assurance, so that they seem entirely inevitable. Throughout, Klemperer demonstrates his profound understanding of the musical and emotional richness and complexity of Brahms' masterpiece. The orchestra and chorus respond to his leadership with complete attentiveness and deliver nuanced and passionate performances. Baritone Dietrich Fischer-Dieskau's investment in the music is evident in his warm tone, shapely phrasing, and the dramatic urgency of his performance. Soprano Elizabeth Schwartzkopf's voice did not have all the bloom and flexibility of its prime, but she brings a floating lightness to her solo, "Ihr habt nun Traurigkeit." Produced by Walter Legge and engineered by Douglas Larter, the recording was state-of- the-art when it was recorded in 1961, and the 1997 digital remastering brings it to a standard that should satisfy most listeners. The sound is transparent in the quieter moments, and round and rich in the fuller sections, and always clear and clean. This recording is a must-have for fans of Brahms' Requiem and of outstanding choral performances.© TiVo
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Brahms: Symphonies Nos. 2 & 4 & Tragic Overture

Otto Klemperer

Classical - Released June 9, 2023 | Warner Classics

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Brahms: Symphonies Nos. 1 & 3 & Academic Festival Overture

Otto Klemperer

Classical - Released June 2, 2023 | Warner Classics

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Mozart & Strauss: Lieder

Sabine Devieilhe

Vocal Music (Secular and Sacred) - Released March 29, 2024 | Warner Classics

Hi-Res Booklet Distinctions 4F de Télérama
Neither Mozart nor Strauss is much known for songs, but their pairing here, nicely framing the golden age of the German lied, succeeds in showing the virtues of both as song composers. Soprano Sabine Devieilhe has often taken up Mozart's music. She is new to Strauss, but she catches his Classical, or neo-Classical, side in the selections on this album, wisely avoiding heavier material. The elegant little structures of Mozart's songs seem to bloom into Strauss' more elaborate treatments of similar structures, and when Strauss does open up his range, as in the wildly flowery Amor, Devieilhe, known for her interpretation of the Queen of the Night's "Der Hölle Rache" in Die Zauberflöte, K. 620, is ready. Mozart, in turn, is ennobled by this program, with small melodic details emerging nicely in the work of Devieilhe and the lively and timbrally varied accompanist Mathieu Pordoy. The whole project has the feel of small treasures known to performers who take pleasure in sharing them, an impression reinforced by the photos of the pair in the graphics and also by the acoustic environment of a small hall at the Paris Opera. A delightful song recital that rightly made classical best-seller charts in the spring of 2024.© James Manheim /TiVo
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Brahms – Reger: Song Transcriptions

Rudolf Buchbinder

Classical - Released March 22, 2024 | Deutsche Grammophon (DG)

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The veteran pianist Rudolf Buchbinder is known best for Haydn and Mozart, but he has the kind of record that has earned him the right to do pretty much what he wants in later life. Here, he plays transcriptions of Brahms songs by Max Reger, items that most listeners will not have heard. Of course, on the one hand, transcriptions were part and parcel of the 19th century scene (although perhaps less so in the song genre); on the other, 28 of these things, deprived of the texts, may sound like a lot, but Buchbinder's program is interesting on the whole. He takes his Brahms songs chronologically, and this yields various insights. There are simple pieces from throughout Brahms' lied output, but most of these songs are not simple, and without the contrast provided by the voice, the listener's attention is directed toward the place of the melody line in a web of polyphony. Consider a song as straightforward as the Wiegenlied, Op. 49, No. 4, the so-called "Brahms Lullaby." There turns out to be plenty going on below, and often above, the melody, holding the listener's interest in a whole new way. The chronological organization gives the listener a unique window into the growing density of Brahms' late style. There is probably no way to know whether Schoenberg and the other members of the Second Viennese School, great admirers of Brahms, heard the masterful treatment of register in these transcriptions, but they certainly might have. A fine offbeat find for Brahms lovers, and indeed those of Reger.© James Manheim /TiVo