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Gloire Immortelle !

Hervé Niquet

Classical - Released November 17, 2023 | Château de Versailles Spectacles

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Tchaikovsky: Swan Lake

Pierre Monteux

Classical - Released February 12, 2016 | Universal Music Australia Pty. Ltd.

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La Danse espagnole (Intégrale des pièces pour violon & piano - volume 2)

Diego Tosi

Chamber Music - Released May 18, 2010 | Solstice

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Ravel : Boléro, Rapsodie espagnole, Ma mère l'Oye

Pierre Boulez

Classical - Released October 14, 2016 | Deutsche Grammophon (DG)

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Ravel: Concerto en sol, La Valse & Ma mère l'Oye (Live)

Martha Argerich

Classical - Released February 7, 2020 | Warner Classics

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Ravel: Boléro; La Valse; Rhapsodie Espagnole; Menuet antique; Ma Mère l'Oye

Pierre Boulez

Classical - Released January 1, 1975 | Sony Classical

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Ravel : Ma Mère L'Oye, Boléro, Rapsodie espagnole...

Pierre Boulez

Classical - Released January 1, 1994 | Deutsche Grammophon (DG)

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Soar

Min Lee

Chamber Music - Released August 26, 2016 | Ming Classics

Ida Presti & Alexandre Lagoya, Vol. 3

Ida Presti

Classical - Released March 3, 2015 | IDIS

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12 Stradivari

Janine Jansen

Classical - Released September 10, 2021 | Decca Music Group Ltd.

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It must have been an amazing dream come true for Janine Jansen to play twelve of the finest Stradivarius violins made available to her for ten days or so to record this album, and to have it filmed by Gerry Fox in London. Ten days to master these precious gems is certainly a very short time, even if the outcome is preserved forever by this documentary available online in late 2021.The twelve precious instruments travelled from all over the world to realise this whimsical project. Some of these twelve "Strads" lifted from their museum display cases have not been played for decades, others belong or have belonged to legendary virtuosi, and some have probably never been recorded. It was then necessary to devise a programme that would best illustrate the characteristics and personality of the individual violins. The rather original choices eschew Bach, which Janine Jansen plays so well, to focus on a dozen composers perhaps not all the most obvious: Falla, Tchaikovsky, Kreisler, Schumann, Brahms, Elgar, Vieuxtemps, Rachmaninov, Szymanovski, Ravel, Suk and Heuberger.There is no need to look for coherence here, but just to appreciate the sound of each instrument which, we have to admit, represents a real challenge for a non-specialist audience. Antonio Pappano, as good a pianist as he is  conductor,  uses a wide range of sounds to enhance these twelve vignettes, original pieces or arrangements of famous works. © François Hudry/Qobuz
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Debussy : Complete Works for Piano

Jean-Efflam Bavouzet

Classical - Released October 1, 2012 | Chandos

Hi-Res Booklet Distinctions Diapason d'or
Praised for his meticulous fidelity to the composer's intentions, as well as for his rich tonal palette and the warmth of his expressions, Jean-Efflam Bavouzet has won many admirers for his five albums of the complete solo piano music of Claude Debussy. These recordings were produced by Chandos between 2007 and 2009, and they have now been gathered into a handsome box set; each disc is presented with its own cardboard sleeve and the original liner notes that accompanied each release. The roster of artists who have recorded Debussy's keyboard music is a long and distinguished one, though Bavouzet is easily ranked in the upper echelons, equal in stature among such luminaries as Jean-Yves Thibaudet, Arturo Benedetti Michelangeli, Krystian Zimerman, Maurizio Pollini, Angela Hewitt, Pierre-Laurent Aimard, and Pascal Rogé. Experienced listeners will already have favorite recordings of the Préludes, Images, Estampes, and Études, as well as the perennially popular Suite bergamasque, Children's Corner, and other picturesque pieces. However, many will be won over by the consistency of Bavouzet's playing, and newcomers will find that his disciplined yet gorgeous readings are a great way to begin appreciating these charming classics. Chandos provides excellent sound that gives the piano a clear presence yet takes nothing away from Bavouzet's atmospheric colors or the radiant acoustics. Highly recommended.© TiVo
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Tchaikovsky: Swan Lake, Op.20, TH.12

Boston Symphony Orchestra

Classical - Released January 10, 2023 | Deutsche Grammophon (DG)

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Debussy

Jean-Paul Gasparian

Classical - Released May 5, 2023 | naïve

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Enfers

Raphaël Pichon

Opera Extracts - Released February 23, 2018 | harmonia mundi

Hi-Res Booklet Distinctions 4F de Télérama - Gramophone Editor's Choice - Diamant d'Opéra - Choc de Classica - 5 Sterne Fono Forum Klassik
With his ensemble Pygmalion, Raphaël Pichon has written the listing for this album in the form of a "pastiche" of a Mass for the Dead, a Requiem both sacred and profane. While it is a long way from having all the defining traits, it does possess all the outlines: Introit, Kyrie, Gradual, Sequence, Offertory, In Paradisum... The idea came about after a recent discovery, in the Bibliothèque Nationale of an anonymous requiem mass from the 18th century, in which the writer constructed a "parody" based on musical extracts from Castor and Pollux and the Fêtes de Paphos by Jean-Philippe Rameau. Note that the term "parody" doesn't necessarily imply satire or mockery: it refers to the practice of taking up older music and setting new words to it. This fusion of sacred music (the mass) and profane music (lyrical tragedy), a common practice during the Enlightenment, was a procedure that Pichon wanted to take up. In French society at the time, when Catholicism was the norm, where the political system was monarchical rule by divine right, the representation of ancient pagan Hell on theatrical stages seemed to betray a fascination in the beliefs of the ancients. And so this programme melds together pagan fable with a Christian imaginary, where Hell takes on different faces. It is the place of unjust and eternal torment, a place of privation where a couple is separated, one half kept in Hades. But, in the lyrical tragedy, Hell is also a place of perdition: obscure forces unleashed in Sabbath rites, a Satanic vision which unearths the darkest depths of the human soul... Stéphane Degout is the author of this tragedy, bringing together such varied characters as Phaedra, Pluto, and the Parcae. The composers whose music is put to use are Rameau and Gluck, with a single borrowing from Rebel: it would have been a shame not to mention his singular Chaos (taken from Éléments), which starts with a dissonant chord containing the seven notes of the scale of D minor. © SM/Qobuz
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Debussy: Préludes, Livres 1 & 2

Vestard Shimkus

Classical - Released March 31, 2023 | ARTALINNA

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Prokofiev: Symphony No.5 - Stravinsky: Sacre du Printemps

Herbert von Karajan

Symphonic Music - Released March 1, 2000 | Deutsche Grammophon (DG)

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Four pianos, Four Pieces

Alexander Melnikov

Classical - Released February 9, 2018 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Editor's Choice
"Four oeuvres, four pianos" might be a better way of looking at the cover of this album by Alexander Melnikov: Schubert is played on a (simply stunning) Viennese Graf fortepiano from around 1835, Chopin on an Érard grand piano from 1837, Liszt on a Bösendorfer from 1875 and Stravinsky on a modern-day Steinway - the only work which is not played on an instrument contemporary to its composition, as Petrushka dates from 1911, and most certainly not from 2014 like the Steinway in question! The differences between the four instruments are not immediately obvious, but Melnikov's project is to demonstrate just how closely art and instrument follow one another: the Wanderer Fantasy benefits from the clarity of the Graf fortepiano which, while it lacks powerful volume, offers a startling palette of different sounds for the artist to explore. Chopin's twelve Études Op. 10 on the Érard – still within a few years of the Graf – increased the power of the sound in particular, but at the cost of reducing the range of colours in the palette. With the Réminiscences de Don Juan by Liszt, the Bösendorfer unleashes real pianistic thunderbolts, which almost overshadows the content! Finally, Petrushka on the Steinway takes us back into a rather more familiar territory. This is a concept of pairing from Melnikov, whose fondness for historical instruments is well-known. © SM/Qobuz