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Mélodies (France) - Verschenen op 3 april 2020 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
As the symbiosis between the art of the poet and that of the composer, the French mélodie became the jewel of the salons of the ‘Belle Époque’. By placing a string quartet and a piano around the singer, Chausson’s Chanson perpétuelle, Lekeu’s Nocturne and Fauré’s La Bonne Chanson oscillate between chamber musical intimacy and orchestral ambition. Alongside these famous pioneering pieces, this programme devised by the Palazzetto Bru Zane champions a return to the art of transcription, so popular in the nineteenth century, with the aim of expanding the repertory for voice, strings and piano in order to unearth some forgotten treasures. Hence Hahn, Berlioz, Saint-Saëns, Massenet, La Tombelle, Ropartz, Louiguy and Messager all appear in a programme whose guiding thread is the emotions of nocturnal abandonment: the charms of twilight, the trajectory of dreams, the terror of nightmare or the exhilaration of festive occasions. Alexandre Dratwicki has made these arrangements in the style of the nineteenth century. Appropriately enough, the programme ends with La Vie en rose, for this music offers a kaleidoscope of all the colours of human feeling. The texture of solo strings and piano sets Véronique Gens’s incomparable storytelling artistry in a new ligh. © Alpha Classics
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Concertos pour instruments à vent - Verschenen op 27 maart 2020 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
Giovanni Antonini, virtuoso flautist and orchestral conductor, is the founder of the Italian ensemble Il Giardino Armonico, which burst on the baroque musical scene in 1985; together they have amassed an impressive discography. Partnered by Alpha Classics, they have launched a complete recording of the 107 symphonies by Joseph Haydn, in anticipation of the 300th anniversary of his birth in 2032. Il Giardino Armonico is celebrating a composer with whose music he made his name: Antonio Vivaldi. With Antonini as soloist in a programme of his own devising recorded between 2011 and 2017, a generous bouquet of concertos "per flauto" : RV 433 (‘La Tempesta di Mare’), plus the Concertos RV 441, 442, 443, 444, and 445, and an amazing version of Cum dederit, a solo from Nisi Dominus RV 608, for the chalumeau, the predecessor to the modern-day clarinet. © Alpha Classics
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Musique vocale profane - Verschenen op 27 maart 2020 | MUSO

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
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Musique vocale (profane et sacrée) - Verschenen op 27 maart 2020 | Ambronay Éditions

Hi-Res Booklet Onderscheidingen Diapason d'or
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Violon solo - Verschenen op 6 maart 2020 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or
Johann Paul von Westhoff (1656-1705) was one of the most brilliant members of the significant school of violinists that flourished in seventeenth-century Dresden. This impressive virtuoso, who was even applauded by Louis XIV at Versailles, wrote the very first compositions for unaccompanied violin, which of course foreshadow the later masterpieces of Johann Sebastian Bach. The programme recorded here includes some suites from his collection published in Dresden in 1696, as well as the suite that was printed in the Mercure galant of Paris in 1683, following his visit to Versailles.
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Classique - Verschenen op 6 maart 2020 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or
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Musique symphonique - 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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Concertos pour violon - 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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Concertos pour clavier - Verschenen op 21 februari 2020 | Decca Music Group Ltd.

Hi-Res Onderscheidingen Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica
The unconventional character that is Benjamin Grosvenor delivers us a very personal version of these two essential works of the piano repertoire. The first Brit to have signed an exclusive contract with Decca Classics in sixty years, he first made his name in 2004 when he won the Keyboard section of BBC Young Musician of the Year, thus throwing the doors open to an international career. Produced alongside the talented young conductor from Hong Kong Elim Chan, the musical director of the Royal Scottish National Orchestra, this new album dedicated to Chopin revisits the young British prodigy’s first musical loves. It was following a very successful concert with Elim Chan that they decided to record the Piano concertos by Chopin together. In this fifth album (for Decca), it’s Grosvenor’s virtuosity and ability to make the instrument sing that allow him to fully express his favourite music. “Chopin was the first composer to whom I felt a strong connection to as a child. I have always been drawn to his music, and his piano concertos are among some of the finest in the repertoire”, he says. Other than his already legendary sound and the expert way he strikes a balance between the different acoustic levels, his vision underlines the dreamy romanticism that delicately envelops the two concertos by the then-20-year-old Polish composer. © François Hudry/Qobuz
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Duos - Verschenen op 7 februari 2020 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Classique - Verschenen op 10 januari 2020 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
20 years old and a brazen amount of talent: the Afro-British cellist Sheku Kanneh-Mason has three idols. Cellists Jacqueline du Pré and Mstislav Rostropovitch and reggae legend Bob Marley, three passionate and extrovert forces. His career really took off after he performed at Prince Harry and Meghan Markle’s wedding in 2018. His album Inspiration released the same year broke all sorts of sales records in the United Kingdom and his hometown of Nottingham even named a bus after him. As part of a partnership with the label Decca, he is back with a new recording, this time dedicated to the famous Cello Concerto in E Minor, Op. 85, accompanied by the London Symphony Orchestra headed by their new conductor, Sir Simon Rattle. A first class encounter which produces a poetic vision, almost like chamber music, of this renowned concerto. Made famous by Jacqueline du Pré’s versions (with Barbirolli then with her husband Daniel Barenboim), Elgar’s Concerto is accompanied on the track listing by other shorter pieces which were popular among soloists and music lovers alike a century ago, which the younger generation is bringing back in vogue. The album thus features arrangements of traditional music and works by Bloch, Elgar, Bridge, Fauré and Klengel. From the infinitely large to the infinitely small with the staggering virtuosity of this bright young talent. © François Hudry/Qobuz
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Musique symphonique - Verschenen op 10 januari 2020 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 étoiles de Classica
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Concertos pour violon - Verschenen op 3 januari 2020 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Concertos pour violon - Verschenen op 13 december 2019 | Passacaille

Hi-Res Booklet Onderscheidingen Diapason d'or
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Classique - Verschenen op 15 november 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or
It's often said that opposites attract. On that basis, Vilde Frang has gambled on bringing together Schubert and Paganini onto one record. Far from trying to measure these composers against each other in terms of virtuosity, the Swedish violinist turns a spotlight onto their shared love of song. Sandwiched between two Caprices – the first by Paganini (Capriccio, Op. 38 after the aria Nel cor più non mi sento from La Molinara by Paisiello); and the latter by Ernst (the Grand Caprice, Op. 26, in a breathtaking transcription for solo violin based on Erlkönig) – Vilde Frang's recital deploys an incredible armada of assets in service of the music. She moves from one mode of playing to the other as if it was nothing. This confounding facility makes us forget the imposing technical demands made by the scores recorded here: Paganini's of course, but also Schubert's work. And she doesn't overburden the moving fragility of, for example, the opening of the Fantasie in C major, D.934.We should take a moment to salute pianist Michail Lifits – whom we have already seen play Prokofiev alongside Alexandra Conunova for Aparté. In the second movement Allegretto, piano and violin converse cheerily, with a grace that brings out every bit of these two much-decorated musicians' even, firm temperament. The mismatched writing recalls the Scherzo from Beethoven's Frühlingssonate, Op. 24, with added Schubertian melancholy, and further underlines the complicity between our musicians.Marvellously contrasted, these works provide a choice terrain for this incredible violinist, Vilde Frang. She follows her heart and her... caprices, to create the most varied atmospheres. Her interpretation of this Erlkönig howls like an icy blast in the dead of winter and takes your breath away. Laughter turns to horror. But a deliciously perfected horror! © Elsa Siffert/Qobuz
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Classique - Verschenen op 8 november 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
For several years, the young Franco-Swiss tenor has been gaining a name as a heartthrob on all the great stages of the world. Perhaps thanks to his French origins, he has the perfect diction of a Georges Thill and the vocal power of a Roberto Alagna, with whom he is often compared. On the Helvetian side, Benjamin Bernheim has the class of an Ernst Haefliger or an Éric Tappy, not to mention their modesty and simplicity of style. As part of an exclusive contract with Deutsche Grammophon, he has produced this very successful début album, which presents the roles that he is currently performing in Covent Garden, Zurich, Milan, Vienna, Chicago and Paris. Having won critical acclaim for the quality of his performances, in 2018 Benjamin Bernheim gave French audiences the original 1859 version of Faust by Gounod, at a concert at the Théâtre des Champs-Elysées, with Christophe Rousset conducting. He bided his time, making no abrupt moves and working on his roles as part of the troupe at the Zürich Opera, preparing his characters patiently, with the fine psychological sense of an actor. The beauty of his natural timbre is married to his perfect diction on this first recital, which alternates between French song (Massenet, Gounod, Godard, Berlioz), Italian opera (Donizetti, Verdi, Puccini) and the Russian repertoire (Lenski's famous aria in Tchaikovsky's Eugene Onegin). This recording was made with the Prague PKF Orchestra, with Emmanuel Villaume conducting – in the generous acoustics of the Smetana Hall – over two sessions in 2017 and 2018. © François Hudry/Qobuz
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Classique - Verschenen op 25 oktober 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Mélodies (France) - Verschenen op 25 oktober 2019 | Bru Zane

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica
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Classique - Verschenen op 18 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
 
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Quatuors - Verschenen op 11 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica - Qobuzism
Six quartets that are key to understanding what Joseph Haydn brought to the history of western music. This effort by the Quatuor Hanson is particularly successful because they know how to construct and express the quintessence of this subtle art. And what's more, they bring it off with a fascinating level of instrumental skill. Listening to this piece, we have to bow down once again before the genius of a composer who, along with Boccherini, invented a new genre and immediately studded it with masterpieces of staggering quality. Its title, All shall not die, is the international translation of the Latin epigraph engraved onto Haydn’s tombstone (non omnis moriar). The choice of this phrase indicates the permanence and universality of Haydn's body of work. Judiciously picked out from among Haydn's vast corpus, these six quartets are touching both in their expressiveness and in the perfection of their writing. Not a single note out of place, a perfect balance of four voices and an inspiration at every moment. The closing Opus 77, left unfinished, was a contemporary of Beethoven's first Quartets, Opus 18 – works that betray the lessons their writer learned from his master.More than two hundred years after his death, Haydn has only just found recognition as one of the greats, a status denied him in life. More than a forerunner, Haydn is a founder, a genius whose influence was felt by those who came after him, foremost amongst whom Beethoven and Schubert. This splendid album puts him (back) in his rightful place. © François Hudry/Qobuz