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D'Iroise et D'ailleurs- Chants de Marins - Keltia Musique

Les Marins D'Iroise

Pop - Released September 28, 2011 | Rikou Soner

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Elisabeth Jacquet de la Guerre: Céphale et Procris

Reinoud Van Mechelen

Classical - Released February 9, 2024 | Château de Versailles Spectacles

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Persona (Nouvelle édition)

Bertrand Belin

French Music - Released February 1, 2019 | Wagram Music - Cinq 7

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Les nuits de Repentigny

Les Cowboys Fringants

French Music - Released March 12, 2021 | La Tribu

Rose Kennedy (Edition Deluxe)

Benjamin Biolay

French Music - Released May 7, 2001 | Parlophone (France)

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Récitals

Francesca Solleville

French Music - Released August 21, 2020 | EPM Musique

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Chants de Marins : 22 Sailors Songs and Melodies

Djiboudjep

Folk/Americana - Released January 7, 1994 | Coop Breizh

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Dutilleux, Daniel-Lesur & Britten: Carnet de bord

Maîtrise de Radio France

Vocal Music (Secular and Sacred) - Released February 24, 2015 | Formations musicales - Radio France

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La mer est immense

Les Marins D'Iroise

French Music - Released July 3, 2015 | Coop Breizh

Métamorphose

Bernard Lavilliers

French Music - Released November 17, 2023 | Universal Music Division Barclay

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Debussy: Complete Orchestral Work

Jun Märkl

Classical - Released January 30, 2012 | Naxos

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REFLETS

Grand Corps Malade

French Music - Released October 20, 2023 | Anouche Records

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2bis

Florent Pagny

French Music - Released August 31, 2023 | Universal Music Division Capitol Music France

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Consolations

Saskia Giorgini

Solo Piano - Released June 9, 2023 | PentaTone

Hi-Res Booklet Distinctions Diapason d'or
Pianist Saskia Giorgini found both critical and commercial success with her 2022 recording of Liszt's Harmonies poétiques et religieuses, and this 2023 release, which immediately climbed onto classical best-seller charts, follows directly on the earlier album, with the same Bösendorfer piano and the same recording location, the Lisztzentrum in Raiding, Austria. Listeners will not be disappointed, for Consolations has all the virtues of her first Liszt album and adds a few more. The wonderfully controlled lyricism of the Harmonies poétiques et religieuses recurs in the heavily programmatic title work, where Giorgini's playing hints at the presence of all kinds of stories. She plainly excels in the religious, late Liszt, and there are two wonderful examples here, the Deux Legends, portraits of St. Francis of Assisi praying to the birds, and of St. François de Paule. These are difficult works that combine mysticism with Lisztian virtuosity; annotator Mark Berry is right to stress that Liszt did not fully renounce the virtuosity in his later years, but that is not all. Giorgini is just as good in the flashy Three Caprices-Valses and the reflective Liebesträume, the best-known music on the album. In the Valse-Impromptu, she has an uncanny way of suggesting the feeling of spontaneity that seems to have marked Liszt's own playing. Will Giorgini go on with Liszt? She certainly has the technical and emotional wherewithal to do so and to take on more famous works than these.© James Manheim /TiVo
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Venice

Anastasia Kobekina

Classical - Released February 2, 2024 | Sony Classical

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At first glance, one might confuse the virtuoso cellist Angelina Kobekina’s latest album, Venice, as a classical “greatest hits” collection—a packaging of snippets taken from previous recordings released when a record company’s star artist hasn’t recorded enough fresh material. This recording is anything but that. Venice is a strikingly original and personal concept with Kobekina’s love for the titular city as the underlying theme. Kobekina’s original compositions are solo cello pieces, while those of Bach, Britten, Monteverdi, and Vivaldi feature her unique accompaniments. Some depart significantly from the originals, such as a 20th-Century jazz arrangement of a Vivaldi concerto. While some traditionally-minded classical listeners may object to the recomposing of works by the old masters, what must be kept in mind is that Venice is not the typical classical release in recital format, but a creation in which the artist takes the listener along on her own highly intimate journey. Some listeners may find themselves getting lost but the wordy “roadmap” provided in the booklet or even the notes by Kobekina herself may likely be of little assistance.  Rather than trying to figure out exactly what the artist is expressing, the best approach is to listen to Venice from beginning to end, with no interruptions or preconceived notions. Listeners may love it or hate it, but one thing on which all may agree: Anastasia Kobekina is an extraordinary cellist, artist, and musician. ©Anthony Fountain/Qobuz