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Liederen (Duitsland) - Verschenen op 3 januari 2020 | SOMM Recordings

Hi-Res Booklet Onderscheidingen Diapason d'or
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Concerten voor viool - Verschenen op 13 december 2019 | Passacaille

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - 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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Klassiek - 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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Piano solo - Verschenen op 1 november 2019 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or
Charles-Valentin Alkan made his name as pianist in nineteenth-century Paris and seemed poised for a glittering career. But following a series of setbacks he withdrew into a life of relative seclusion, and as he receded from the public eye, so too did his music. It was never entirely forgotten, but it was not until the 1960s and 1970s that Alkan’s works began to emerge from obscurity. To quote the liner notes by Paul Wee, ‘Alkan’s music exhibits a formidable grasp of form and structure, a strong command of melody, a high sense of drama and an unprecedented exploitation of the capabilities of the piano.’ Combined here are the Symphony and the Concerto for Solo Piano, two pinnacles of Alkan’s legacy. Unusually, the four movements of the Symphony and the three movements of the Concerto are included as seven études within Alkan’s Douze Études dans tous les tons mineurs (Twelve studies in all the minor keys), in 1857 as his Op. 39. As to why Alkan composed these epic works and then hid them away in a set of études, Wee suggests that they are to be seen as ‘a celebration of the piano and its capabilities.’ Paul Wee is a barrister specialising in commercial law and appears regularly before courts and tribunals on behalf of clients including governments, corporations, financial institutions and individuals. Born in Australia, he began his piano studies at the age of four, continuing them in New York City at the Manhattan School of Music. Going on to study law at the University of Oxford, he attempts to balance his love for the piano alongside the demands of a busy international career in law. © BIS Records
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Klassiek - 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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Liederen (Frankrijk) - 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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Kamermuziek - Verschenen op 25 oktober 2019 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Kamermuziek - Verschenen op 18 oktober 2019 | Accent

Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 18 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
 
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Kamermuziek - Verschenen op 18 oktober 2019 | Myrios Classics

Hi-Res Onderscheidingen Diapason d'or
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Kwartetten - 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
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Kamermuziek - Verschenen op 11 oktober 2019 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or
The music of Marin Marais is now a part of the repertoire of all viola players, and here is graced with a royal visit, from Jordi Savall, on the opening track. This music displays all the melancholy of the closing years of the 17th Century, through the lens of the many pieces composed by Marais for the Chambre du Roi for which he was responsible. This Deuxième Livre de pièces de viole presented in the new album, recorded between 2015 and 2018, dates from 1701, well after the death of surintendant Lully, and during the bleak and final years of the reign of Louis XIV, who by then had become and austere religious zealot. In the Deuxième Livre, Marin Marais presents a whole catalogue of the human condition and renders moving homage to his departed masters, Lully and Sainte-Colombe. This voluminous Deuxième Livre contains no fewer than 142 pieces, ordered by key, allowing musicians to construct their suites as they please. The overall spirit is of grandeur and the monumental, with often very daring harmonies, as if Marin Marais wanted to drop them on his young competitors in the small Parisian world of viol da gamba. François Joubert-Caillet plays viola and leads the Belgian ensemble L’Achéron, made up of a bass viola and a rich continuo created by a harp, a theorbo, a guitar and a harpsichord. © François Hudry/Qobuz
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Kamermuziek - Verschenen op 11 oktober 2019 | resonanzraum records

Hi-Res Booklet Onderscheidingen Diapason d'or
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Vocale muziek (wereldlijk en religieus) - Verschenen op 4 oktober 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
Who was Louis Gaulard Dumesny? Dumesny was not the first haute-contre historically speaking, but he was the first to have become famous in his lifetime. Sources agree that he was a cook when Lully discovered him. He made his debut in 1677 and everyone was amazed by his acting, the power of his voice and also his ability to learn everything by ear, since he could not read music. A few centuries later, Reinoud Van Mechelen, star tenor of the international Baroque scene, has decided, with his ensemble A Nocte Temporis, to pay tribute to this ‘haute-contre’ register, a high tenor voice (not to be confused with the countertenor!), by devoting three recordings to it, paying tribute in turn to Lully, Rameau and Gluck. The first part of this trilogy therefore contains the finest operatic airs and suites by Lully, featuring excerpts from Isis, Persée, Armide, Amadis, Acis et Galatée and Achille et Polyxène, but also pieces by Marin Marais (Alcide), Marc-Antoine Charpentier (Médée), Élisabeth Jacquet de La Guerre (Céphale et Procris), Henry Desmarets, Pascal Colasse, Charles-Hubert Gervais and André Cardinal Destouches. © Alpha Classics/Outhere
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Liederen - Verschenen op 4 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
 A scribe of Schubert’s lieder, piano virtuoso, composer of powerful symphonic works, a precursor to modern music which would blossom at the start of the twentieth century, Franz Liszt is also the author of many lieder and other melodies. This great European traveller spoke many different languages, never holding back from putting German romanticism to music through the words of Heine, Schiller, Rellstab or Goethe, the French smoothness of Victor Hugo or the perfect language of Petrarch’s Sonnets in Italian. At 35 years old, the French tenor Cyrille Dubois already has a long career behind him. A young singer in the Caen children’s choir in Normandy, he started his solo career at the age of 12, playing Miles in Britten’s The Turn of the Screw at the Opéra de Lyon, before joining the Opéra de Paris’ Atelier Lyrique program in 2010. He has since performed on various international stages. His accompanist Tristan Raës studied at the Conservatoire de Paris, winning several prizes, including that of Anne Le Bozec’s accompaniment class. The two musicians that make up Duo Contraste met for the first time over ten years ago during their studies. Driven by a passion for melody which they admirably deliver, they have dedicated themselves to this repertoire with a skilful blend of simplicity and clarity, as well as a remarkable sense of nuance and expression all while avoiding any over-exaggerated sentimentality. © François Hudry/Qobuz
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Trio´s - Verschenen op 4 oktober 2019 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
In Russia, the piano trio is the most prestigious format for the musical homage. It lends a work an elegiac character, which is often made clear in the movement's title or indications. The Trio in A Minor, Op. 50 pours itself out in a generous Pezzo elegiaco, a passionate meeting of cello and violin. There follow a succession of deliciously inventive variations on a folk theme, appearing one after another like so many matrioshkas. The performers (Vadim Gluzman on violin, Johannes Moser on cello and Yevgeny Sudbin on piano) are at home with this music, which they play with a hot intensity. In the fifth variation, the piano finds sounds which we love, with a sober accompaniment of sustained pedal notes on strings. The musicians dig a little further into this deliciously nostalgic mood with the Trio in F Sharp Minor by Arno Babadjanian. This latter moulds the sound with magnificent grandiloquence. Its lyricism, with folk accents, speaks in a Romantic language, in a taut harmonic environment. We're holding our breath up until Tango by Alfred Schnittke, arranged for the occasion of this recording for the label Bis by Yevgeny Sudbin. Here, the nostalgia reaches its zenith. But the performers can't weaken on this piece that demands musicians be at once supple – it is a dance, after all – and robust. And these are qualities shared by all these artists, including Vadim Gluzman, with a charm worthy of David Oïstrakh, the first performer of the Babadjanian's Trio. © Elsa Siffert/Qobuz
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Religieuze vocale muziek - Verschenen op 27 september 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Symfonische muziek - Verschenen op 27 september 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
Paavo Järvi inaugurates his new contract as conductor of the Tonhalle Orchestra in Zurich with a programme devoted to Messiaen. Alpha Classics will accompany this extremely promising combination: ‘I’ve always admired French music very much. (...) I think Messiaen is the most original voice, someone absolutely unique. You need only listen for three seconds to a work by Messiaen to be sure that it is by him. His style is so clear, so unmistakable. In his two early works Les Offrandes oubliées and Le Tombeau resplendissant, religion and mysticism play an important role. If you listen carefully, you will notice how a harmony is continually transformed, so that you can never predict what sound will come next. But Messiaen’s harmonic language is not experimental: it produces an inevitable meaning, and you get the feeling that the chord sequence can be that way and no other. Music is a language of its own; music begins where words leave off.’ (Excerpt from an interview with Paavo Järvi) © Alpha Classics
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Kamermuziek - Verschenen op 27 september 2019 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or