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Nostalgia

Magdalena Kožená

Classical - Released October 9, 2021 | PentaTone

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Songs of love, longing and innocence. On this third Pentatone album "Nostalgia", Magdalena Kožená presents Bartók’s Village Scenes, Mussorgsky’s The Nursery and a selection of Brahms songs, together with acclaimed pianist Yefim Bronfman. Sung in Slovak, Russian and German, these songs on love, longing and innocence show three master composers transforming folk traditions into their unique musical styles. Kožená demonstrates her vocal mastery once more, and this recording with Bronfman is the result of a two-decades-spanning congenial artistic partnership. © Pentatone
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Brahms: Lieder

Bernarda Fink

Classical - Released November 6, 2007 | harmonia mundi

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Brahms: Lieder

Bernarda Fink

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

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Schubert - Meta

Claire Huangci

Classical - Released October 20, 2023 | Berlin Classics

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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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Richard Strauss : Lieder

Jonas Kaufmann

Art Songs, Mélodies & Lieder - Released August 15, 2007 | harmonia mundi

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Lieder von Schubert, Brahms, Schumann

Vesselina Kasarova

Classical - Released April 5, 1999 | RCA Red Seal

Brahms: Lieder

Margaret Price

Classical - Released January 1, 2016 | Orfeo

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For Clara: Works by Schumann & Brahms

Hélène Grimaud

Classical - Released September 8, 2023 | Deutsche Grammophon (DG)

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Robert Schumann was never more purely Romantic than in his set of piano pieces Kreisleriana, Op. 16. The set is of extramusical, literary inspiration, taking its name from a character in stories by E.T.A. Hoffmann, and it features the explosive imagination of the young Schumann at its best. Schumann announced the work, which he apparently wrote in four days, rather breathlessly to his inamorata, Clara, and more than almost any other work of his, it seems to spill over the boundaries of the short piano piece. Hélène Grimaud has recorded the work before, but she seems to have added intensity this time around. She is nervously excited in the faster virtuosic numbers, but sample No. 4 to hear her marvelous control over the tonal instability that appears in many of these pieces. The Brahms Intermezzi, Op. 117, were also "For Clara," sent to Clara Schumann toward the end of his life; the two had remained friends, and here, in Grimaud's evocation of tempestuous old-school pianism, one is stirred to wonder what Clara sounded like playing this music. The connection of the nine Lieder und Gesänge, Op. 32, of Brahms to Clara is less clear, and the set, with baritone Konstantin Krimmel on the vocals, may seem like an afterthought; the three performances on the album were all made at different places and times. However, taken on its own terms, it is a fine performance of this set, consisting entirely of settings of texts by Eastern poets. Krimmel catches the rather mystical nature of the songs, and Grimaud, with whom he has worked in the past, is effective as an accompanist. This is an important entry in Grimaud's catalog, with a Kreisleriana that is as fine as any.© James Manheim /TiVo
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Schütz: Schwanengesang, Op. 13

La Capella Ducale

Classical - Released October 28, 2023 | CPO

Hi-Res Booklet Distinctions Diapason d'or
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Bach: St. Matthew Passion, BWV 244 by Otto Klemperer

Otto Klemperer

Classical - Released March 4, 2023 | Alexandre Bak - Classical Music Reference Recording

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Licht in der Nacht

Coline Dutilleul

Classical - Released October 21, 2022 | Fuga Libera

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"What could be more fascinating than the play of light and shadow? To descend into sensual melancholy, to dare to be fragile and to reveal oneself in its depths and inner nuances. I find that one way of illustrating this complexity of the senses is to compare two musical and pictorial schools: French Impressionism and German Expressionism. The colours and timbres employed by these two schools have long fascinated me just as much as the extreme refinement and detail of the paintings and compositions themselves. Each painter and composer explored the depths of the human soul in his or her own manner. This programme of works composed between 1899-1914 that laid the foundations for modern music is intended as a bridge between Expressionism and Impressionism. This parallel does not claim to illustrate their differences but rather to highlight their common points, to reveal the voluptuous and almost decadent sensuality of these two currents as well as their geographical and stylistic contrasts" (Coline Dutilleul) © Fuga Libera
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Brahms: Vier Ernste Gesänge, Op. 121

Marie-Claude Chappuis

Classical - Released May 26, 2023 | Prospero Classical

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New Eyes on Martin Luther

Nils Landgren

Classical - Released May 26, 2017 | ACT Music

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Brahms: Symphony No.1, Schicksalslied, Begrabnisgesang

John Eliot Gardiner

Symphonic Music - Released September 1, 2008 | SDG

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Many if not most listeners would say that period instruments and historically informed performance practice are fine in their place, but many if not most listeners would also say their place does not include repertoire from the latter years of the nineteenth century. For those listeners, this disc of John Eliot Gardiner leading the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir in three works of Brahms -- the Begräbnisgesang, Schicksalslied, and C minor Symphony -- and one of Mendelssohn -- the Mitten wir im Leben sind -- will be totally unacceptable. For them, its odd colors, unusual balances, and quirky articulation will seem so utterly unlike the Brahms they know they will categorically reject these performances. That's their choice and their loss. For one thing, no one could doubt that Gardiner's musicians are wholly adept at their tasks. There's not a note wrong or a rhythm misplaced anywhere in these performances. For another, no one would argue that Gardiner and his musicians are not entirely dedicated to the music and to giving it the most powerful reading they can. The choral Begräbnisgesang, Schicksalslied, and Mitten wir im Leben sind are deeply moving and the C minor Symphony is profoundly affecting, especially in its heroic finale. True, the colors, articulation, and balances are strikingly different, with the colors more piquant, the articulation more detached, and the balances more diverse. But since most of these works and in particular the symphony are exceedingly well known and most of these changes are supported by scholarship and musicianship, it seems churlish to protest. Captured in rich, clean but atmospheric digital sound in live performances, this disc may be anathema to some, but it will be ambrosia to others. © TiVo
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Alma - Meine Seele. Complete Songs of Alma Mahler

Elise Caluwaerts

Classical - Released May 5, 2023 | Fuga Libera

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Devotees of the endlessly fascinating turn-of-the-century Viennese scene are likely to jump on this release by soprano Elise Caluwaerts, for it is essentially the first complete recording of the songs of Alma Mahler, which have rarely been recorded at all. Most of them were composed around 1899, before Alma married Gustav Mahler; he forbade her to continue composing but relented after she began an affair with the architect Walter Gropius. Accompanist Marianna Shirinyan accordingly uses an 1899 Steinway, which has a quiet sound in her hands, totally unlike that of the percussive modern Steinway grand. Even if there is some light clanking, it is beautifully suited to Mahler's songs, which are murky, mysterious, and often quite passionate; they're rather episodic as she picked texts that show some kind of development, and the primary influence is not Gustav Mahler or Richard Strauss but probably Wagner most of all. They are like little operatic scenes, like the songs Wagner might have written if he had decided to, but really, they are not derivative of anything, and it is a treat to have them. Outhere's sound captures the performers' work well in a perfect chamber hall at the Bozar facility in Brussels. Caluwaerts will be a matter of taste. Her voice is smoky and has lots of vibrato, sounding like she is older than she is; fortunately, modern-day listeners have recourse to sampling, through which they will discover the sharp contrast between Caluwaerts' low and high registers in a song like Licht in der Nacht, the first of the Vier Lieder. It is worth noting that Caluwaerts made the acquaintance of the Mahlers' granddaughter Marina and discussed markings in the autograph manuscripts with her. Whatever listeners' individual reactions, it is wonderful to have these songs in general circulation. © James Manheim /TiVo
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Brahms: Vier ernste Gesänge

Christoph Eschenbach

Art Songs, Mélodies & Lieder - Released May 13, 2016 | harmonia mundi

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Mendelssohn: Die erste Walpurgisnacht - Brahms: Nänie - Schumann: Der Königssohn

Simone Schroder

Classical - Released January 24, 2011 | Farao Classics

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Telemann: Reformations-Oratorium 1755

Reinhard Goebel

Sacred Oratorios - Released June 21, 2017 | Sony Music Classical Local

Hi-Res Booklet Distinctions Diapason d'or - 5 Sterne Fono Forum Klassik
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Musique classique pour la détente: calmer bébé

Filip Lundqvist

Classical - Released May 17, 2019 | Masterpieces Filip Lundqvist