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Mozart: Horn Concertos & Bassoon Concerto

Louis-Philippe Marsolais

Classical - Released March 1, 2017 | ATMA Classique

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Mozart: Misa de Requiem en Re Menor, KV 626

Orquesta Sinfónica Nacional de México

Classical - Released December 6, 1991 | Epsa Music

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Méditation cithare & piano

Philippe Davenet

Ambient - Released March 3, 2015 | Bayard Musique

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Mozart: Serenade No. 9, K. 320 "Posthorn" & 2 Marches, K. 335

Nikolaus Harnoncourt

Classical - Released January 1, 1984 | Warner Classics International

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Yellow Edition - Mozart: Concertone for 2 Violins & "Posthorn Serenade"

Various Artists

Classical - Released October 13, 2020 | YELLOW COLLECTION by a.m. publishing house

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Debussy – Rameau

Víkingur Ólafsson

Classical - Released March 27, 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Diapason d'or - 5 étoiles de Classica
This program brings together two great French composers, separated by almost two centuries, that we would not think of bringing together spontaneously. But the freedom of mind of the Icelandic pianist looks at it otherwise, who, for his third album with Deutsche Grammophon, wanted to highlight their affinities as their contrasts in the light of their innovative contribution to the musical thought of their time. "I scratch my head wondering why Rameau's music is not played more. Between quality, inventiveness and unpredictability, there is never any element of formula in these pieces”, says Víkingur Ólafsson. By instinctively associating these style characteristics with those specific to Debussy, he decided to make an album of them: "I want to show Rameau as a futurist and underline the deep roots of Debussy in French baroque — and in Rameau's music in particular. The idea is that the listener almost forgets who is who by listening to the album." Debussy, who never stopped defending the French tradition by opposing it to German music, liked the decorative and complex lines of this Baroque composer with a French spirit like his own.An initial idea in the development of this skillfully constructed program, the transcription for piano of Debussy from Prélude to his Cantata La Damoiselle introduces it. Like the album's visual, Víkingur Ólafsson aims to be suggestive even in the accent he gives in Rameau to polyphonic voices supported by a flawless rhythmic impulse, which contrasts with Debussy, whose among other things the beautiful tumultuous Jardins sous la pluie which is played with a large breath in the image of wind load until the light returns. © Qobuz / GG
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Mozart: Complete Piano Sonatas

Yeol Eum Son

Classical - Released March 17, 2023 | naïve

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Corbetta: La Guitarre Royalle

Simone Vallerotonda

Classical - Released January 12, 2024 | Arcana

Hi-Res Booklet Distinctions Choc de Classica
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Berlioz: Les Nuits d'été, Op. 7 - Harold en Italie, Op. 16

Michael Spyres

Classical - Released November 18, 2022 | Warner Classics

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This release is part of a Berlioz series by conductor John Nelson and the Orchestre philharmonique de Strasbourg, but it is the soloists who shine here. Tenor Michael Spyres, who is really hitting his stride, has a voice pleasantly suited to French music, rounded and subtle, but there is more; Berlioz suggested that several singers perform the orchestral song cycle Les nuits d'été, Op. 7, but Spyres takes all the songs himself. Moreover, he does them in the original keys, which is rarer still. This calls for a singer with exceptional control of dynamic extremes in different parts of his range, and Spyres is exceptionally flexible in this regard. There is a confidence and nonchalance to this performance that grows on the listener as the performance proceeds, even as the sound engineering puts Spyres too far front and center to the detriment of the orchestra's contributions. This isn't so pronounced in the anti-concerto Harold en Italie, Op. 16, and here again, there is a standout soloist; Timothy Ridout offers a rich sound and a real narrative quality that seems to evoke the score's source in Lord Byron's long poem. This exceptionally satisfying Berlioz album hit best-seller charts in late 2022.© James Manheim /TiVo
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La Mascarade - Music For Solo Baroque Guitar & Theorbo

Rolf Lislevand

Classical - Released May 20, 2016 | ECM New Series

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - 5 Sterne Fono Forum Klassik
The Norwegian early music lutenist and guitarist Rolf Lislevand has pooh-poohed the idea of historical authenticity, but it may be that the lovely program here would have appealed to listeners in the court of Louis XIV, for which the music was intended. Lislevand examines pieces by a pair of late 17th century composers, Robert de Visée (a rondeau by whom, plus some rather murky booklet ruminations by Lislevand, give the album its title) and the sparsely heard Francesco Corbetta, choosing slow, quasi-improvisatory pieces and dances -- preludes, chaconnes, sarabandes, passacaglias -- from each, and adding some improvised introductions. The music alternates between a very deep-voiced, many-stringed theorbo and a small, crystalline Baroque guitar. The result is an extremely reflective concert, dividing up a common stock of musical ideas in several subtle ways, that, as Lislevand points out, would have been played for a small group of connoisseurs in its own time. ECM producer Manfred Eicher is nonpareil as a recorder of music like this, but here, working in the Auditorio Stelio Molo in Lugano, he outdoes himself, evoking the "musica callada," the music that has fallen silent, of Mompou. He draws the listener into a rich communion with a remarkable player.© TiVo
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Entrez dans la danse... (Hahn, Ravel, Poulenc, Schmitt...)

Anne Queffélec

Solo Piano - Released January 13, 2017 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason
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Creole promenade

Alain Jean-Marie

Jazz - Released April 28, 2023 | Paradis Improvisé

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Joseph Haydn : Cello Concertos

Freiburger Barockorchester

Cello Concertos - Released March 27, 2003 | harmonia mundi

Booklet Distinctions Choc de Classica
This admirable Harmonia Mundi release presents Franz Josef Haydn's two cello concertos and the Cello Concerto in G minor by Georg Matthias Monn with the luster of period instruments; refined, idiomatic playing; and exceptional sound quality, with full resonance; and cellist Jean-Guihan Queyras and the Freiburg Baroque Orchestra, directed by Petra Müllejans, render these works with exquisite details and emotional depth. In a real sense, their performances are acts of rediscovery, for Haydn's cello concertos have become routine fare from too many modern renditions, and Monn's piece is unfamiliar from too few performances. Indeed, all three concertos have suffered the vagaries of preservation and interpretation. Haydn's Cello Concerto No. 1 in C major was once considered lost until its discovery in 1961; the Cello Concerto No. 2 in D major suffered false attribution and its authorship was debated until the appearance of the manuscript in 1954; and Monn's concerto survived only in an arrangement for harpsichord and strings until Arnold Schoenberg edited it in 1912. To set the record straight, this disc presents the concertos intelligently refurbished, with appropriate eighteenth century style and color. Through their insightful scholarship and sensitive performances, Queyras and Müllejans have produced a fine alternative to the less authentic mainstream recordings.© TiVo
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Charpentier: Pastorale de Noël - Antiennes O de l’Avent

Sébastien Daucé

Sacred Vocal Music - Released October 21, 2016 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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C.P.E Bach: Concerto pour piano, cordes et basse continue en ré mineur

Christian Zacharias

Miscellaneous - Released April 17, 2020 | XXI Music

Carl Philipp Emanuel Bach was admired and often cited as an example by Haydyn, Mozart and Beethoven, but just like these three musicians he too struggled to find an audience for his music. As one of Johann Sebastian’s sons, he was a custodian of his father’s rather daunting legacy. The composer dates back to the beginning of the classical area but his music already seemed to show hints of romanticism. The very essence of his music and his originality has been considered as a “theatre of the soul” (Gilles Cantagrel) – the emotional staging of the music interspersed with surprises and sudden modulations, fiercely dynamic oppositions and silences sometimes heavy with anguish. Like all the artists of his time, Carl Philipp was a prolific composer and wrote nearly fifty concertos for the harpsichord, which was his favourite instrument, along with the clavichord on which he took great pleasure in improvising for hours at a time. Christian Zacharias is familiar with the composer and has already devoted several recordings to his work. For this concert in November 2019 with the Auvergne National Orchestra, who he conducts from behind his own instrument, he selected the Concerto in D minor, Wq. 23, H. 427. It is a piece which illustrates the innovativeness of Carl Philipp Emanuel Bach’s style perfectly, particularly in the Poco Andante, whose expressive effusion prefigures Mozart’s greatest concertos. The extraordinary Rondo in C minor with its harmonic instability is featured as an encore and takes us to right to the edge of the abyss before leaving us there with its question-like inconclusive ending. A musical style that seemingly initiates and embodies the “Age of Sensibility” to which Hadyn and Mozart later greatly contributed. © François Hudry/Qobuz
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Mozart: The Complete Piano Sonatas & Variations

Daniel Barenboim

Classical - Released August 26, 2022 | Warner Classics

Booklet
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Bach : The Well-Tempered Clavier, Book 1

Christophe Rousset

Classical - Released March 18, 2016 | Aparté

Hi-Res Booklet Distinctions Choc de Classica