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Klassiek - Verschenen op 29 mei 2020 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
Alessandro Scarlatti’s oratorio is an exciting drama of life, love and death, set in the fourth-century Roman Empire. Preferring to devote her life to God, Teodosia rejects the love of Arsenio, the son of the Roman governor, and welcomes death. St Theodosia of Tyre died at the age of eighteen, in the year 308. One cannot help but be struck by the dramatic strength and the vocal beauty of this work, performed here by a very talented casting, gathering Emmanuelle de Negri, Emiliano Gonzalez Toro, Anthea Pichanick, Renato Dolcini and the fiery orchestra Les Accents led by Thibault Noally. © Aparté
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Klassiek - Verschenen op 10 april 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
Having already attracted attention for his exceptional gifts, Bach entered the service of the Weimar court at the age of twenty-three. This was the start of the period known as his ‘early maturity’, in which his formal and expressive experiments reflect a significant interest in French music and ‘la belle danse’. The close intertwining of French and German styles is the dominant feature of this third volume in Benjamin Alard’s recording of the complete organ and harpsichord works. ‘A remarkable complete set of Bach’s keyboard music is gradually being built up.’ – ResMusica. © harmonia mundi
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Klassiek - Verschenen op 27 maart 2020 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen Diapason d'or - 5 étoiles de Classica
Was Rameau the quintessentially French composer? Debussy certainly thought so, and penned an Hommage à Rameau in Book 1 of the Images for piano, heard here. Pianist Víkingur Ólafsson isn't the first to put the two composers together in a program, but it's rarely been done as well as it is here. Ólafsson punctuates sets of short, pictorial Rameau pieces, mostly from the Pièces de Clavecin of 1724 but also including some of his wilder later experiments, with some Debussy favorites that bring out Debussy's status as a forerunner of neoclassicism especially well. He finds humor in both composers, which not every keyboardist does, and the sequencing of tracks is wonderfully calibrated: online listeners should not accept any invitations to shuffle here. Ólafsson pushes his Rameau a bit in the direction of Debussy, with judicious pedal and graceful phrasing, and his Debussy moves a bit toward Rameau: it is clean and crisp without being in the slightest bit inexpressive. The end result is a program that's entirely individual, coherent as few others are, and just a delight all around. Ólafsson up to now has devoted his recordings to a single composer, but he takes a major step forward here, and one breathlessly awaits what's coming next. © TiVo
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Klassiek - Verschenen op 27 maart 2020 | Claves Records

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
This recording was made in April 2019 at the Ernest-Ansermet Studio in Geneva, after five concerts in Switzerland during the preceding days. The desire to be as faithful as possible to the rhythm of the drama of the Passion and to the evidence of the musical sequences, which is easier to feel during a live performance than in front of the relative abstraction of the microphones, as well as a non-negligible time constraint (three and a half days in the studio for a work of 160 minutes), pushed the members of Gli Angeli Genève to record long takes, sometimes including up to 10 or 12 minutes of music, thus getting as close as possible to the feeling of a concert. In concert, with small vocal groups, Gli Angeli Genève systematically places the singers in front of the instruments regardless of repertoire, so as to give speech in music the most prominent place possible. When recording, since the audience’s crucial role cannot be replaced by the microphones, the musicians place ourselves in a large circle, all facing each other. They can see each other playing, singing, vibrating, breathing and reacting. The idea of reaction is central to this work where, when the action of the story is suspended, it is immediately replaced by emotion and poetic as well as musical beauty that Matthew’s story inspired in Bach and Picander. Airs as well as chorales. And within this circle they can react together, engage in dialogue, and see themselves feel the drama and powerful affects that mark the work relentlessly. And then they can share the pleasure and sometimes the awe - so beautiful is the music – of being able to live all this together. Forming a circle to make this music and observing the extraordinary musicians of Gli Angeli Genève at work led Stephan MacLeod (the conductor) to realise the extent to which The Saint Matthew Passion has structured the career and relationship to music of many of his colleagues. © Claves Records
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Klassiek - Verschenen op 27 maart 2020 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama - 5 étoiles de Classica
“Jardin féérique”, the Métaboles’ second album with NoMadMusic, is a true ode to nature. Infinite source of inspiration, it becomes an enchanted forest with Ravel, is the symbolical reflection of the soul’s tremors with Saint-Saëns, while Britten, in his Hymn to Saint Cecilia – patron of musicians – pays homage to the muse walking through a shady garden. Britten’s Flower Songs create a unique cycle like a musical herbarium… The figurative music of Murray Schafer (Miniwanka) – engaged composer and ecology-lover – develops the concept of a musical landscape: a fascinating conjunction of vocal gestures, percussion, onomatopeia, evocation of rituals which reveal the metaphysical dimension of the link between Nature and Mankind. © Nomadmusic
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Klassiek - Verschenen op 6 maart 2020 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Klassiek - Verschenen op 28 februari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - 5 étoiles de Classica
Almost forty years separate Verklärte Nacht from the Violin Concerto – the former still influenced by the idiom of Brahms and Wagner, the latter deriving from the richness of that later period when Schoenberg managed to combine a multiplicity of approaches within his twelve-note system. Between post-Romantic twilight and ‘classical’ rigour, Isabelle Faust and her most faithful partners offer us an extraordinarily lively interpretation of some of the most remarkable pages in twentieth-century musical literature. © harmonia mundi
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Klassiek - Verschenen op 28 februari 2020 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen Diapason d'or - 5 étoiles de Classica
Written in 2018 for his favorite pianist Kirill Gerstein, Thomas Adès’s Concerto for Piano has been a worldwide success. Commissioned by the Boston Symphony, where the piece premiered on March 7, 2019, and where it was recorded, it is already part of the program of fifty soon-to-be concerts in Europe and in the US, all to be performed by its exclusive dedicatee. A twenty-minute-long piece with a classical three-movement structure, the concerto mixes every genre and influence with kaleidoscopic and skillful talent. The new piece includes many influences, mainly hinting at Twentieth-century piano concertos, such as works by Ravel, Prokofiev, Bartók, Poulenc, and Rachmaninov, as well as Gershwin’s jazzy style, peppering the whole composition. This new piece takes the past into account and will be recognizable to traditionalist audiences of classical music concerts. The second part of the album, that Thomas Adès, one of the most well-known and performed contemporary composers, also dedicates to himself, includes his Totentanz (“Dance of Death”) for mezzo-soprano, baritone, and orchestra. The piece was composed in 2013 for the famous London Proms’ series to celebrate Britten and Lutosławski’s hundred-year anniversary, two essential composers of the twentieth century. Recorded during a concert that took place in Boston in 2016, Totentanz is inspired by a famous mural in Lübeck’s Saint Mary’s Church, bombed by the allied forces in 1942. Adès’ Totentanz is part of a rich tradition where the fragility of the human condition is explored in relation to contemporary tragedies. Written on anonymous texts from the 15th century, the Totentanz consists of drinking songs on the theme of death embodied by the baritone. Throughout the work, we witness the reactions of different individuals of humanity faced with death - preacher, pope, emperor, cardinal, king, monk, knight, doctor, usurer, businessman, sacristan, craftsman, farmer, daughter, child - who are embodied by the mezzo-soprano. When the Pope and Emperor appear jaded, the King is panicked while the peasant, fatalist, accepts his fate... © François Hudry / Qobuz
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Klassiek - Verschenen op 28 februari 2020 | Brilliant Classics

Onderscheidingen 5 étoiles de Classica
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Klassiek - Verschenen op 21 februari 2020 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
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Klassiek - Verschenen op 21 februari 2020 | Universal Music Division Decca Records France

Hi-Res Onderscheidingen 5 étoiles de Classica
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Klassiek - Verschenen op 21 februari 2020 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Klassiek - Verschenen op 14 februari 2020 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 étoiles de Classica
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Klassiek - Verschenen op 14 februari 2020 | SWR Classic

Booklet Onderscheidingen 5 étoiles de Classica
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Klassiek - Verschenen op 7 februari 2020 | BIS

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
“A great joy”: this is how Masaaki Suzuki considers this, his second recording of the St. Matthew’s Passion, made twenty years after the first one, in the Saitama Arts Theatre in Japan in April 2019 for the BIS label. A great opportunity to revisit the work, as in the elapsed time, the conductor and his orchestra have nearly completely recorded Bach’s choral music, including the complete masses and secular and sacred cantatas. As is his custom, Suzuki works with European soloists for this new recording, like the splendid young German tenor Benjamin Bruns, playing the stupendous part of the Evangelist. There are other familiar soloists that feature here, such as Carolyn Sampson, Damien Guillon, Makoto Sakurada and Christian Immler. There is nothing monumental about this new intimate and refined version, which follows the fateful narrative with great sobriety. There is nevertheless a fervent level of impulse, as well as a certain innocence within this resolutely pared back Lutheran perspective - there is never any real search for theatricality. The exceptional instrumental quality of the soloists of the Bach Collegium Japan and the soft touches of the two choral ensembles is also worth highlighting. © François Hudry / Qobuz
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Klassiek - Verschenen op 7 februari 2020 | LSO Live

Hi-Res Booklet Onderscheidingen 4F de Télérama - 5 étoiles de Classica
The second album in Sir John Eliot Gardiner's Schumann series with the London Symphony Orchestra travels from glorious fanfare to dream-like passages with the lively 'Spring' and 'Rhenish' symphonies. From the dramatic first trumpet-call which awakens the frozen landscape, the First Symphony is a celebration of spring. It moves through the season and a gruff folk-song Scherzo until finally a jubilant conclusion dances into summer. Desperate, heartfelt and elegant, the "Manfred" Overture opens with an urgent impetus that only increases through the work, displaying the intense strife which lies ahead for its protagonist. Schumann’s Third is one of the composer’s most impressive, painting a euphoric picture of the German Rhineland in broad Beethovenian style and closing with an exhilarating finale. © LSO Live
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Klassiek - Verschenen op 1 februari 2020 | Cypres

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
"D'ombres..." This program is a continuation of the first album dedicated to Debussy's Études, which revealed pianist Elodie Vignon to the public. Dutilleux has a close relationship with Debussy in his sensory approach to music. Composed just after the Second World War, his Piano Sonata reminds us, in some aspects, of Claude Debussy's Pour le piano, also composed after another Great War. The composition of the Three Preludes, spread over a period of fifteen years, testifies to the composer's desire to change his style and syntax, making it less linear and traditional. Claude Ledoux emerges from the shadows and delivers a work that seeks to translate the world in which we live, a world of silence and sound in perpetual transformation. © Cyprès
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Klassiek - Verschenen op 17 januari 2020 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - Le Choix de France Musique - 5 étoiles de Classica
A soloist and revelation at the French classical music award ceremony “Victoires de la musique classique 2018”, Sélim Mazari was one of the last pupils to study under Brigitte Engerer, before attending the Conservatoire National Supérieur de Musique de Paris with Claire Désert and then moving to London to start a second Master’s degree at the Royal College. For his first solo recording, the young French pianist has opted for an album which is entirely devoted to Beethoven, recording several cycles of variations, with or without opus numbers, including the difficult “Eroica” Variations, on a theme from the ballet The Creatures of Prometheus, which he takes up again in the form of a contra-dance and, of course, as the main theme of the Finale from the composer’s forthcoming Third Symphony. Beethoven’s works without opus numbers (WoO) are more numerous than those numbered by himself or his publishers. During his youth as a virtuoso-composer, he did not approach his works with the historical perspective he would gain later in life, perhaps aware of his growing reputation and genius. The Twelve Variations on a Theme by Paul Wranitzky from 1796 already heralded the maturity and complexity that Beethoven gave to the many variations that would punctuate his entire oeuvre. Though not exactly loved by the composer, the 32 Variations in C minor are nevertheless profoundly original and allowed the young Beethoven to impress his audiences in the salons.
The Variations on an Original Theme, Op. 34 from 1802 offered a “new” way for Beethoven to free himself from his predecessors. The “Eroica” Variations occupy a dominant position in the Beethovian catalogue thanks to their pleasant, dramatic, humorous and mysterious atmospheres. © François Hudry / Qobuz
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Symfonische muziek - Verschenen op 10 januari 2020 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 étoiles de Classica
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Klassiek - Verschenen op 13 december 2019 | Naxos

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
Pancho Vladigerov is considered by many to be the most influential composer that Bulgaria has yet produced, gaining fame between the World Wars and earning the admiration of Shostakovich. The three works recorded here are a testament to Vladigerov’s mission to bring Bulgarian music to international attention, successfully combining elements of folk music with European classical tradition. The Vardar-Rhapsody has been called ‘the Bulgarian equivalent of Chopin’s Polonaise in A-flat’, and the lively and exotic Seven Symphonic Bulgarian Dances is among the most notable of a series of works that fuse joyous regional melodies with sophisticated Western orchestration. © Naxos