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Piano solo - Verschenen op 25 mei 2018 | Evidence

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 5 oktober 2018 | Alia Vox

Hi-Res Booklet
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Klassiek - Verschenen op 6 november 2012 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Coup de coeur de l'Académie Charles Cros - 4 étoiles Classica - Hi-Res Audio
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Kamermuziek - Verschenen op 6 maart 2012 | harmonia mundi

Onderscheidingen The Qobuz Ideal Discography
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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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Klassiek - Verschenen op 19 oktober 2018 | Warner Classics

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Klassiek - Verschenen op 31 maart 2011 | Alpha

Booklet Onderscheidingen Diapason d'or
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Symfonische muziek - Verschenen op 30 november 2018 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama
The four Nations by François Couperin (also known as "Couperin the Great") consist of France, Spain, the Empire and Piedmont (Italy, therefore), though it would be rather futile to look for any truly national characteristics in each of the movements of these four suites. And all the more so due to the fact that many of the pieces had already been composed well before the collection’s publication in 1726, and they were simply renamed... Yes, throughout the thirty-six movements of the work we do hear the French style on the one hand and the more Italianising style on the other, but the many interpolations make it, in fact, a kind of mixed European collection. At most, Spain is entitled to a few rare and truly Iberian turns of phrase, even though they are only visible under a microscope. Christophe Rousset and his musical ensemble Les Talens Lyriques approach these "trios" with joy and respect, knowing that the term "trio" does not necessarily imply three musicians; in fact, the melodic parts are entrusted to two oboes, two flutes and two violins, both together and alternately, while the continuo is played by the bassoon, harpsichord, gamba and theorbo, again either together or in various combinations depending on the musical texture. In this way, the thirty-six movements demonstrate the immense musical richness of these various nations, with all the diversity and contrasts that Couperin has assigned to them. © SM/Qobuz
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Kamermuziek - Verschenen op 29 mei 2012 | Aparté

Hi-Res Booklet Onderscheidingen Pianiste Maestro - Choc de Classica - Qobuzism - Hi-Res Audio
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Klassiek - Verschenen op 14 september 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
A miniature Theatre of the World This box set launches a new complete recording of François Couperin's works for harpsichord: an extensive selection of vocal pieces and chamber music and the organ masses will be gathered around this rich corpus, each in its own way shedding further light on the keyboard music. In this first volume, Bertrand Cuiller draws the portrait of a mysterious alchemist: the ordres chosen here play with the colour of sounds, alliterations, double meanings and parodies, freely inspired by the world of the theatre. An enigmatic world to which Bertrand Cuiller undoubtedly holds the key . . .© harmonia mundi
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Klassiek - Verschenen op 26 januari 2018 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Cantates (wereldlijk) - Verschenen op 9 september 2016 | Aparté

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 19 november 2012 | Alia Vox

Hi-Res Booklet Onderscheidingen Diapason d'or - Qobuz Referentie - Hi-Res Audio
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Kamermuziek - Verschenen op 8 september 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
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Klassiek - Verschenen op 1 januari 2000 | Decca Music Group Ltd.

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Klassiek - Verschenen op 31 maart 2016 | Passacaille

Hi-Res Onderscheidingen Diapason d'or - Le Choix de France Musique
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Klassiek - Verschenen op 19 oktober 2018 | Warner Classics

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Klassiek - Verschenen op 1 september 2005 | Naxos

Booklet
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Kamermuziek - Verschenen op 28 september 2017 | Les Indispensables de Diapason

Onderscheidingen Diapason d'or
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Kamermuziek - Verschenen op 17 augustus 2018 | Alpha

Hi-Res Booklet
"The harpsichord is perfect as to it compass, and brilliant in itself, but as it is impossible to swell out or diminish the volume of its sound, I shall always feel grateful to any who, by the exercise of infinite art supported by fine taste, contrive to render this instrument capable of expression", writes Couperin himself in the foreword to his 1713 Premier livre de pièces de clavecin. If we discount the ornamentations which litter the world, Couperin's music is not a "virtuoso" music, as Scarlatti's can be, for example. Sometimes taking on a descriptive style, or going in for imitation or portrait, it requires a singular sense of expression: that very "expression" that the composer talks about here. In Art de toucher le clavecin, Couperin offers us precious information on how to interpret and play his music in particular, and French music of the period in general; an artist who aims to respect Couperin's intentions will find indispensable lessons here. That being said, a fear of stepping outside the bounds set by the author, and a too-minute attention to every detail could rob the works of their vitality and fluency. "As there is a great distance from grammar to declamation, so there is an infinitely greater one between the tablature and good playing style." Or, in other words, freedom within limits! That is the attitude that Olivier Fortin brings to this fine range of works from the great Couperin, drawn from various of his Livres de clavecin and L’Art de toucher le clavecin. As for the instrument being played, it is a "real fake", made in 1984 by the manufacturer Martin Skowroneck based on a Hemsch (that is, 18th century French), but signed with the name of the Rouen artistan Nicholas Lefebvre, none of whose instruments survive to the present day, and which was built in 1755. Skowroneck's aim was to prove to Gustav Leonhardt that it was still possible to build a harpsichord that was perfectly identical to one of the old style, and it seems that Leonhardt was taken with his attempt. Even the material's ageing was completely artificial! But it is no less of a splendid instrument for all that, and moreover, splendidly recorded, which is not all that common in the harpsichord repertoire. © SM/Qobuz