What is a Qobuzissime? It’s an award presented by Qobuz for a first or second album.

Pop or Reggae, Metal or Classical, Jazz or Blues, no genre is excluded. More often than not the award is presented to a newly discovered artist.

Sometimes it might be a particularly quirky or a crossover album from a discography.

The important aspects are uniqueness, sincerity and quality. We look for these things in the recording, the project and the sound identity.





Albums

51 albums gesorteerd op Price: from least expensive to most expensive en gefilterd op Klassiek
€ 17,49
€ 12,49

Klassiek - Verschenen op 1 januari 2014 | Deutsche Grammophon Classics

Hi-Res Booklet Onderscheidingen Choc de Classica - Qobuzism - Hi-Res Audio
€ 11,24€ 14,99
€ 7,49€ 9,99

Symfonische muziek - Verschenen op 3 november 2017 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism - 5 étoiles de Classica
Aside from Elgar’s fascinating and obligatory Falstaff composed in 1913 (a Symphonic Study according to the partition, but in reality a symphonic poem in the grand tradition of Strauss— about whom Elgar probably thought when he wrote his masterpiece, and the rather present solo cello cannot help but remind us of Strauss’ Don Quixote, composed sixteen years earlier), the album distinguishes itself by a few melodies with orchestra from the same Elgar, a repertoire unfortunately too often neglected and yet of breathtaking beauty (we hear, in a pinch, the Sea Pictures performed from time to time, but that’s all folks). And when you know that it’s the now very famous baritone Roderick Williams on the mic, we can only applaud the initiative of Andrew Davis and the BBC Philharmonic to feature these splendors once again. Elgar proves to us here that, far from just being a great master of large symphonic-vocal soundscapes in the form of oratorio (we obviously think about The Dream of Gerontius, The Apostles and The Music Makers), he handles the miniature with genius. Roderick Williams, one of the most beautiful voices of today’s British scene, grasps these rarities with a joy that is as rare as these pieces. The album closes on a hilarious wink, the Smoking Cantata, a cantata with a ginormous orchestration but that lasts… only 49 seconds, and whose text is limited to: “Kindly, Kindly, kindly do not smoke in the hall or staircase”. It’s the best British humor! Qobuz technical commentary on sound quality The sound quality for this wonderful orchestration is refined; the level ratios are well-judged; and the distances between the consoles are just right, in this airy piece of mixing that renders the lines exceptionally clear. Clear and enveloping reverberation never hides the discourse: the result is a rare evenness between the different families within the orchestra. The tutti certainly aren’t lacking any liveliness, thanks to the remarkably assured dynamic, and when the percussion gets going we discover a beautifully-proportioned hall, which gives the sound room to develop without constraints. Without falling into the very (too?) popular trap of ultra-proximity, and because the acoustics allow it, Chandos has produced a mix which really respects the score, the performance, and the sound scene... what a relief! © SM/Qobuz
€ 16,99
€ 14,49

Opera - Verschenen op 7 oktober 2016 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Qobuzism
As Mozart wrote to his father in 1778: "I love it when an aria fits a singer as perfectly as a suit". This, by reasoning, means that virtually all of his greatest melodies – for both prima donna and secondary (supporting) roles - were designed for a specific type of voice. This means that anyone who wants to tackle numerous Mozart roles must know how to adapt their suit accordingly – no simple task, to say the least. Swiss soprano coloratura Regula Mühlemann, with her sumptuous, clear and precise vocals, has perfectly adapted to all of these melodies, as well as the wide range of genres, styles and characters explored. Among the works, one will find Exultate, Jubilate and also a melody that Mozart had written to be inserted in The Barber of Seville by Paisiello, although this did not materialize and Mozart left the work unfinished. Regula Mühlemann, whom we have already witnessed in Salzburg, Berlin, Paris, Zurich, and many other prestigious cities and settings, is accompanied here by the Basel Chamber Orchestra conducted by Umberto Benedetti Michelangeli, the nephew of famous Italian pianist Arturo Benedetti Michelangeli. © SM / Qobuz
€ 16,99
€ 14,49

Klassiek - Verschenen op 6 november 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen Qobuzism - 5 Sterne Fono Forum Klassik
It was in 2012 that Latvian Peteris Vasks composed Klātbūtne (Presence) for cello and string orchestra, on the instigation of Sol Gabetta. A whole world separates this recent work, inscribed in a rather tonal language  - in line, for example, of Schnittke, and sometimes Shostakovich  - to 1978's Grāmata čellam for solo cello, with which Sol Gabetta ends this new recording. This latter work, in two movements: Fortissimo and Pianissimo, is still tinged with the vanguard of the time, at least in the way it was designed by Witold Lutosławski and Krzysztof Penderecki. With Klātbūtne, Vasks offers some of the most moving and profound of today's written music to the cello of Sol Gabetta, who certainly knows how to draw out the true substance of the piece. We will also hear Musique du soir for cello and organ, an infinitely soft and beautiful melody, rooted in a nostalgia worthy at times of Gabriel Fauré himself . © SM / Qobuz
€ 15,99
€ 11,49

Religieuze vocale muziek - Verschenen op 28 januari 2013 | Mirare

Hi-Res Booklet Onderscheidingen Qobuzism - Hi-Res Audio
€ 17,49
€ 12,49

Kamermuziek - Verschenen op 25 september 2012 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica - Qobuzism - Hi-Res Audio
€ 17,49
€ 12,49

Religieuze vocale muziek - Verschenen op 11 maart 2013 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles de Classica - Qobuzism - Hi-Res Audio
€ 17,49
€ 12,49

Trio´s - Verschenen op 24 februari 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica - Qobuzism - Hi-Res Audio
€ 17,49
€ 12,49

Concertmuziek - Verschenen op 1 januari 2012 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Record of the Month - Diapason d'or / Arte - Qobuzism - Hi-Res Audio
€ 17,49
€ 12,49

Concertmuziek - Verschenen op 6 november 2012 | harmonia mundi

Hi-Res Booklet Onderscheidingen Qobuzism - Hi-Res Audio
€ 13,49
€ 8,99

Volledige opera's - Verschenen op 2 augustus 2011 | Naxos

Hi-Res Booklet Onderscheidingen Choc de Classica - Qobuzism - Hi-Res Audio
€ 16,99
€ 14,49

Piano solo - Verschenen op 25 maart 2016 | Sony Classical

Hi-Res Booklet Onderscheidingen Choc de Classica - Qobuzism
In 2015, young French pianist Lucas Debargue set the classical world alight at the International Tchaikovsky Competition in Moscow. Although he took home ‘just’ fourth prize, he also received the coveted Music Critic’s Award (all disciplines). This is all the more impressive when you consider the sort of ‘anti’ child prodigy that we have on our hands here; Debargue is a musician who arrived very late to the piano, and is entirely self-taught. ”Not since Glenn Gould graced Moscow with his presence, or the victory of Van Cliburn at the Tchaikovsky competition during the cold war, has a foreign pianist generated such excitement”, wrote the Huffington Post, known for being difficult to please. The program here was recorded in live concert at the Salle Cortot in Paris back in November 2015, and we’re delighted to add another award to a growing list for the young Frenchman, our Qobuzism award for excellence! The adventure has most certainly just begun for this exciting prospect in Classical Music.
€ 14,99
€ 9,99

Missen, passies, requiems - Verschenen op 5 april 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Qobuzism
This spectacular new release of Maurice Duruflé’s complete choral output uncovers hidden gems of French classical music. Infused with modal harmonies and plainsong, Maurice Duruflé's choral works look back to Gregorian chant. The composer also found inspiration in the likes of Gabriel Fauré and Claude Debussy, incorporating definite lines and close harmonies into his music, and the result is astonishingly simple. His works were part of a whole stylistic movement in the 20th century (one that was far removed from neoclassicism) that tried to trace music back to its origins, separating itself from all the trappings of theatre and performance, and moving away from the highly abstract tendencies that characterised much of the music in the post-war period. Is Gregorian chant the “mother” of all music? Quite possibly. Duruflé aimed to create a serene, gentle mood all the while echoing a contemporary trend, one that was still emerging yet already rather developed, centred around harmony and floating atmospheres in the hope of bringing people together in communion. With little to show by way of recordings yet much by way of talent, the Houston Chamber Choir give a beautiful performance of the French composer's works. Their radiant singing is well worth discovering, made all the more breathtaking by the generous acoustics of the Edythe Bates Old Recital Hall at Rice University, which allow the conductor Robert Simpson to use broad phrasings. The conductor adds an especially touching quality to these naturally expressive works, making this recording – which is as moving as the composer's earlier recordings (Erato) - an ideal gateway into Duruflé’s hypnotic universe (Messe “Cum Jubilo”). It should be noted that despite his relatively long life, Duruflé’s composed only fourteen works. His final composition Notre Père (which lasts just ninety seconds!) was written especially for the Catholic Church though was never performed due to its sheer difficulty. This modest number of compositions reflects Duruflé’s crippling self-criticism and continuous search for perfection. This Houston Chamber Choir recording is a wonderful opportunity to rediscover one of the best kept secrets of the 20th century. © Qobuz
€ 14,99
€ 9,99

Kamermuziek - Verschenen op 26 juni 2015 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - 4 étoiles de Classica - Qobuzism
€ 14,99
€ 9,99

Klassiek - Verschenen op 1 april 2016 | Arcana

Hi-Res Booklet Onderscheidingen Diapason d'or - Qobuzism
€ 14,99
€ 9,99

Klassiek - Verschenen op 24 augustus 2016 | Alpha

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - Qobuzism
Justin Taylor, the winner of the 2015 edition of the celebrated harpsichord competition of the Musica Antiqua Festival in Bruges (which has honoured some of the world’s finest players, including Scott Ross, Christophe Rousset, Pierre Hantaï, Benjamin Alard, and more recently Jean Rondeau), has recorded for Alpha Classics a programme of music by the Forqueray family: Antoine, Michel, Jean-Baptiste, Nicolas-Gilles . . . Those are just some of the first names of a great dynasty of French composers, gambists and organists. Antoine Forqueray, born in 1672, obtained the highly coveted position of Musicien de la Chambre du Roi. He subsequently had, shall we say, a complicated relationship with his son Jean-Baptiste, born in 1699 . . . Envious of the boy’s talent for the viol, Antoine had him imprisoned when he was just sixteen years old! The recital, as well as painting a musical portrait of this unique family, also offers a chance to reflect on the issue of transcription. In fact, the suites performed here on the harpsichord were originally written for viola da gamba. The passage from one instrument to another, from one soundworld to another, sheds new light on the music and allows us to grasp its full originality. © Alpha
€ 14,99
€ 9,99

Klassiek - Verschenen op 6 oktober 2014 | ARTALINNA

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica - Qobuzism
€ 14,99
€ 9,99

Klassiek - Verschenen op 29 september 2014 | L'empreinte digitale

Hi-Res Booklet Onderscheidingen Qobuzism
€ 16,49
€ 10,99

Operafragmenten - Verschenen op 28 september 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Qobuzism
The first solo album from the excellent youngster Julien Behr, who has already played at the Paris Opéra, the Théâtre des Champs-Elysées, the Bordeaux and Lyon Opera Houses and cities such as Salzburg, Vienna, London, Cologne and many other great venues as well as making recordings of various lyrical works including L’Enfant et les sortilèges with Bavarian Radio. As debut albums go, he has made a daring choice in selecting some of the more unknown areas of French opera rather than the more popular pieces from Don José, Romeo, Faust and other big names. Instead, he has taken some gems from the Romantic repertoire (if we extend it up to the First World War for the sake of argument) which are little-heard of. From Gounod, he has selected Cinq-Mars ; from Bizet, La Jolie fille de Perth (one of Bizet's most exquisite passages); from Thomas, Mignon; and then, better-known but still uncommon, Léhar The Merry Widow; Godard, Jocelyn; and Delibes Lakmé. His diction is utterly impeccable; his transparent and airy voice evokes Heddle Nach or Jussi Björling, which serves the repertoire perfectly. The album closes with a few hits from the Romantic repertoire such as Vous qui passez sans me voir by Charles Trenet – well, the lyrics are from the Fou chantant, while the music is by Johnny Hess and Paul Misraki, and the song was originally written for Jean Sablon – evidence of Behr's love of lighter genres, for sure. . © SM/Qobuz
€ 21,49
€ 14,99

Operafragmenten - Verschenen op 2 maart 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Diapason d'or / Arte - Qobuzism - 5 Sterne Fono Forum Klassik
Nowadays it might seem rather strange to describe a composer as a “singing master”, but, during the eighteenth century, this was not the case at all. In Italy, almost every composer worthy of the name wrote opere serie (Porpora wrote at least forty- ve): serious opera was the dominant musical genre, glorifying the human voice above everything else. It was the maker or breaker of musical reputations, with its nest singers the rst superstars of music. Therefore composers, though generally eclipsed by the fame of their leading men and women, needed to understand the human voice and all its remarkable capabilities, both technical and histrionic, in order to be able to exploit the possibilities of the operatic form at a time when those “machines made for singing”, the castrati, had brought the vocal art to a pitch of perfection never known before, nor equalled since. Though this recording is bringing Porpora’s name to public attention again on the 250th anniversary of his death, his fame as a singing teacher has probably obscured, until recently, his remarkable qualities as a composer, quite simply because two of the most famous castrati were among his many pupils, namely Gaetano Majorano, known as Caffarelli, whom Porpora once called “the nest singer in Europe”, also famed for his amorous antics and arrogance on- and off-stage, and the even more celebrated Carlo Broschi, who, under his stage name of Farinelli, amazed audiences and set hearts a- utter for fteen years throughout Europe, before being called to Spain to heal a crazed King by the power of his voice. Max Cencic remarks: “Porpora was a severe teacher, I think, maybe almost sadistic in his demands — you need 120% control of breath, brain and voice”. Legend indeed has it that he taught Caffarelli one page of exercises, and those alone, for six years. The formal alternation of aria and recitative in opera seria conceals a great range of emotional expression, that varietas that Erasmus famously described as “so powerful in every sphere that there is absolutely nothing, however brilliant, which is not dimmed if not commended by variety”. In such forms as the orid aria di bravura or the lyrical aria di sostenuto, the composer’s fantasy only provided a framework for the singer to embroider: the performer’s skill in ornamentation and other emotional devices was of paramount importance. Porpora’s many years of both teaching and composing experience made him, in Max Cencic’s opinion, “one of the top ten composers of Italian Baroque opera. I chose the arias for this recording almost by instinct, by what ‘felt right’. There is no way one can encompass a composer of such quality in one album, and each piece is a treasure in its own right. Though technical display is everywhere — leaps, rapid scales, trills, long phrases — Porpora’s special and utterly captivating melodic gift always shines through.” The arias are all taken from works composed at the height of Porpora’s fame, from Ezio (Venice 1728; “Se tu la reggi al volo” is a semiquaver spectacular) to Filandro (Dresden 1747, with a ravishing siciliano in “Ove l’erbetta tenera, e molle”), including three of the operas he composed for London during the 1730s, in direct competition with Handel (Arianna in Nasso 1733, Enea nel Lazio 1734 — real reworks here in “Chi vuol salva” — and I genia in Aulide 1735). The Teatro San Carlo in Naples, perhaps the most famous of all opera houses at that time, saw the premiere of Il trionfo di Camilla in 1740, and the two arias recorded here show Porpora at his best: the music of “Va per le vene il sangue” evocatively matches its darkly suggestive text, while “Torcere il corso all’onde” combines rapid- re coloratura with elegance of line. In the three arias from Carlo il Calvo (Teatro delle Dame, Rome 1738) the singer is similarly called to match Porpora’s varietas with his own: from the scurrying oriture of “So che tiranno io sono” to the high-lying phrases of “Se rea ti vuole il cielo”, and the beguilingly hypnotic sostenuto of “Quando s’oscura il cielo”. Porpora’s orchestral writing is also remarkably varied, all the more so in that he generally uses only strings, nowhere better than in the elaborate lines of “Torbido intorno al core” from Meride e Selinunte (Venice 1726), where voice and violins entwine in an elaborate and emotionally suggestive web of divisions. However, sometimes he pulls out all the sonority stops, as in the martial “Destrier, che all’armi usato” where, at the rst performance in the Teatro Regio, Turin in 1731 trumpets and horns vied with the unmatchable power of the voice of Farinelli. As Max Cencic has said: “How can we emulate the great castrati? That is hard to pin down, but these voices were the very soul of Porpora’s music.” -Nicholas Clapton © 2018 – Decca Group Limited