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€ 9,99

Duo´s - Verschenen op 5 april 2019 | Pan Classics

Booklet Onderscheidingen 5 de Diapason
Enrico Onofri discovered Bartók’s pedagogical piece 44 Duets for two cellos while he was studying in Italy under Hungarian master violinist Sándor Végh. Onofri took his time to prepare his project and looked for the ideal partner. When he met Lina Tur Bonet, then, he knew he had found her. Both violinists come from a baroque background and they both love Bartók.   Bartók composed the piece in 1931 following the suggestion of a German professor who needed a cycle for two violins without accompaniment. The initial agreement called for the rearrangement of his “For Children” played on the piano. But Bartók’s inspiration led him to a more ambitious project. With his friend Zoltán Kodály at his side, he traveled to remote regions of Eastern Europe, where he collected music and popular songs.  Bartók created a network of modes that gives students the opportunity to have fun learning while focusing on progressive and irregular rhythmic parts, double strings, syncopation and percussive effects. The piece is a catalogue of changing atmospheres that seduces musicians far beyond their initial pedagogical aspect. Enrico Onofri and Lina Tur Bonet thought of the duos as a unique 45-minute cycle and exploration of Bartók’s world. They use highly reverberant acoustics and show their “historically informed” abilities to play precise articulations as well as each note’s dynamics. On this recording, they used strings from the early 1900’s mixing bare gut (A and B), metal-wound gut (G), and steel (E), a mixture which creates a pure and precise sound. © François Hudry/Qobuz
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Kamermuziek - Verschenen op 15 maart 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
Couperin’s four Concerts royaux were published in 1722 as in a supplement to his third anthology of harpsichord pieces. They sound like a twilight tribute to Sun King’s reign. The score doesn’t mention any instrument but we know the musician envisaged them as ensemble pieces for a mixed consort of instruments. And that was how they were performed at the Sunday concerts at Versailles organized by Mme de Maintenon for Louis XIV between 1714 and 1715. Chamber music concerts were in fashion at the time so the four Suites were to be played by a bass instrument and several dessus, and not only by the solo harpsichord. Christophe Rousset and his soloists recorded with sense and sensibility this concentrate of French elegance and virtuosity! With Violinist Stéphanie-Marie Degand, Flutist Georges Barthel, Oboist Patrick Beaugiraud and Violist Atsushi Sakaï, the 18th-century-music lover and baroque conductor features a majestic version of these well-named royal Concerts! © Aparté Music
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Religieuze cantates - Verschenen op 8 maart 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Following his recording of J. S. Bach’s solo cantatas for alto BWV 35 and 170 (issued in 2009), countertenor Damien Guillon has continued his work of research and interpretation, devoting a second album to the Cantata BWV 169 for alto solo and to the famous BWV 82 Ich habe genug ; though better known in its 1727 version for bass, from 1735 onwards it was also performed by an alto voice. To complement this cantata programme, organist Maude Gratton performs Bach’s Prelude and Fugue BWV 543, as well as the chorales Allein Gott in der Höh sei Ehr, BWV 662, BWV 663 & BWV 664. © Alpha Classics
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Concerten voor cello - Verschenen op 22 februari 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
Cellist Ophélie Gaillard and Pulcinella Orchestra focus on Luigi Boccherini, Italian composer and first virtuoso cellist in history. Born in the Tuscany, Boccherini then went to the Court of Prussa and Spain. His musical education looks like a journey around Europe, as it used to be. Long eclipsed by the violin, star of the string instruments, the cello slowly fit in the eighteenth century repertoire thanks to composers who played the instrument themselves. The now famous Suites of Johan Sebastian Bach are the first master pieces composed for the cello. Then Luigi Boccherini strengthened its place in the musical creation, thus becoming to cello what Vivaldi was to the violin one generation earlier. With rhythms of dance from Andalusia and melodies dug along the streets of Madrid, Boccherini draws with notes his adopted country such as his contemporary Francisco Goya did with colours. This double album explores all the genres (concertos, sonatas, symphonies) and invites the gorgeous Sandrine Piau to perform Boccherini’s poignant Stabat Mater for string quintet and solo soprano. © Aparté/Little Tribeca
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Piano solo - Verschenen op 22 februari 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
€ 12,49

Liederen (Engeland) - Verschenen op 22 februari 2019 | Warner Classics

Onderscheidingen 5 de Diapason
€ 12,49

Religieuze vocale muziek - Verschenen op 22 februari 2019 | Warner Classics

Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 22 februari 2019 | Warner Classics

Hi-Res Onderscheidingen 5 de Diapason
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Operafragmenten - Verschenen op 15 februari 2019 | Deutsche Grammophon

Hi-Res Booklet Onderscheidingen 5 de Diapason
Recorded in July 2018 at “Studio” - a new high-tech venue in the outskirts of Paris - this album (which was built entirely on Judith Fuchs' own idea) is dedicated to orphaned women in 19th century opera, between 1815 and 1850, who were struggling to escape the miserable conditions which they found themselves in. Following her huge success in 2018 in Rossini's Count Ory at the Opéra-Comique de Paris, Julie Fuchs was keen to further explore this repertoire. Conducted by Enrique Mazzola (a real “opera maestro”) the Orchestre National d'Île-de-France is dazzling in these operatic excerpts by Donizetti and Rossini, as well as - and most importantly – those by Pacini, Raimondi, Fioravanti, Berlioz, Barbieri and Meyerbeer. This album presents another opportunity for listeners to be won over by Fuchs’ sumptuous voice. The young French lyrical soprano first made a name for herself at the Festival d'Aix-en-Provence, before joining the opera ensemble at the Zurich Opera House in 2013. Further successes followed in Salzburg, Vienna and Paris as well as at the Teatro Real in Madrid. This incredibly versatile repertoire jumps from Mozart to Barbara, Cole Porter, George Crumb and Björk. Julie Fuchs knows no musical boundaries, performing with equal ease in opera as she does in concert next to the young pianist Alphonse Cemin. On Mademoiselle she sings in Italian, French and Spanish, journeying through romantic Bel Canto with a wonderfully original touch and revealing all aspects of her agile, sensual voice. © François Hudry/Qobuz
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Concerten voor cello - Verschenen op 15 februari 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
This concerto begins with a march that is reminiscent of the first act of Beethoven’s Fidelio, which announces the arrival of the sinister character Pizarro - a jest that in turn sets the scene for the soloist's arrival on Jacques Offenbach’s Grand Concerto for Cello in G Major. The piece was tackled by Jérôme Pernoo in 2009 for Archiv Produktion. Twenty-two years his junior, it is the talented Edgar Moreau recording this work here; composed in Paris in 1847, the concerto is presented in a meticulous reconstruction by Jean-Christophe Keck, the undisputed specialist of the German composer. It’s a challenging work for the soloist, testing both virtuosity and stamina with a staggering duration of over forty minutes. Born before his time, the pianist Friedrich Gulda was an expert in musical hybridization, viewing classical music as too constraining. Being open to jazz and all other kinds of music, he wrote a concerto (one of the highlights on this record) for the cellist Heinrich Schiff in 1980. Composed for a varied ensemble of musicians, it mixes a big band with a classical orchestra, using an amp to accentuate the cello's quiet voice. The result is a perplexing score that fuses jazz, waltz (let's not forget that Gulda is Viennese), Ländler and a peaceful “Ranz des Vaches” – traditional melodies played in the Swiss Alps by herdsmen driving cattle. This is a deliciously iconoclastic record that’s as hair-raising as Edgar Moreau's messy locks and the cellist tackles the work with a beautifully playful approach. He is the youngest of a large group of French cellists working today who are perpetuating the appeal of this instrument that has been hugely popular in the western world since replacing the viola da gamba. The carefully selected musicians from the ensemble Les Forces Majeures are conducted with precision and humour by Raphaël Merlin. © François Hudry/Qobuz
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Concerten voor klavier - Verschenen op 1 februari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Piano solo - Verschenen op 1 februari 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Concertmuziek - Verschenen op 1 februari 2019 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason
The life of Nicolas Chédeville (1705-1782) covers exactly the golden age of the hurdy-gurdy and the musette, the French baroque bagpipe. His time witnessed an ‘art of living’ that revelled playfully in the idealization of nature as a mirror of ancient Arcady, and his works contributed to the soundscape of his time, one that portrayed this idyllic milieu in operatic dramas whose heroes were constantly questing for the past … In 1739 he published Les Saisons amusantes, concertos by Antonio Vivaldi arranged for bagpipes and hurdy-gurdies. These transcriptions of concertos from Il Cimento dell armonia e dell’inventione include arrangements for the hurdy-gurdy of three concertos from the Four Seasons ("Spring", "Autumn", and "Winter"). The same year Chédeville made further bucolic arrangements of another three Vivaldi concertos from the same set, calling them Les Plaisirs de l’été, La Moisson, and Les Plaisirs de la Saint-Martin (a version of Vivaldi’s Il Piacere). Tobie Miller, a star virtuoso of the hurdy-gurdy whose first recording for Ricercar ("La belle vielleuse") was heaped with critical praise, tackles this repertoire with infectious spontaneity. © Ricercar
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Symfonische muziek - Verschenen op 1 februari 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 25 januari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Religieuze vocale muziek - Verschenen op 25 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
€ 28,99
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Symfonieën - Verschenen op 18 januari 2019 | Sony Music Labels Inc.

Hi-Res Booklet Onderscheidingen 5 de Diapason
€ 26,99
€ 17,99

Kwartetten - Verschenen op 18 januari 2019 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
Following on from its highly-acclaimed complete cycle of string quartets from the Viennese School, the Quatuor Diotima reaches new heights in its discography with a recording of some of the most significant works of the 20th century music: the six quartets of Béla Bartok, born out of the different artistic and political influences of the time. “These six quartets give us a genuine overview of the composer’s personal life, from his first disappointment in love to the heartbreaking farewell to his mother and his homeland. The evolution of his musical language is equally spectacular. Starting with a post-Romanticism imbued with folklore, still very present in the first two quartets, the Bartókian identity is fully asserted in the great works of his maturity that are the Third, Fourth and Fifth Quartets, and culminates in the highly individual form of the Sixth Quartet, one great song of despair and nostalgia. […] There is a before and an after Bartók in the quartet world. He renews, reinvents all the issues of the genre, the question of the relationship between the voices of the quartet governing the forms, the search for the ‘little difference’, the search for heterogeneity in so homogeneous a medium.” © Naive Classique
€ 48,99

Piano solo - Verschenen op 18 januari 2019 | Universal Music Division Decca Records France

Onderscheidingen 5 de Diapason
€ 9,99

Kamermuziek - Verschenen op 18 januari 2019 | Ars Produktion

Booklet Onderscheidingen 5 de Diapason
While only fourteen years separate the Zemlinsky and Korngold piano trios, written in 1896 and 1919 respectively, the contrast couldn't be more striking. Where Zemlinsky's work, which he wrote at the age of 22, still bears the influence of Brahms (putting it lightly), Korngold's work, written while the composer was 13, has its eyes fixed firmly on the future, or at least on the most coruscating parts of the present day: Strauss or Mahler, and even early Schönberg. The filiation between Zemlinsky and his disciple Korngold seems barely perceptible and the fourteen years between them seem like a huge gulf. These two fascinating works are presented by the Stefan Zweig Trio (founded 2012), an ensemble every bit as Viennese as the composers it showcases here. © SM/Qobuz