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Religieuze vocale muziek - Verschenen op 1 april 2011 | HORTUS

Booklet
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Symfonische muziek - Verschenen op 10 januari 2020 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 étoiles de Classica
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Piano solo - Verschenen op 10 mei 2019 | Orfeo

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 11 januari 2019 | Naxos

Hi-Res Booklet
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Klassiek - Verschenen op 10 februari 2014 | HORTUS

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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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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Piano solo - Verschenen op 20 april 2018 | Orfeo

Hi-Res Booklet Onderscheidingen 5 de Diapason
The church bells that he heard aged four, walking in the streets of Zurich with his parents, were the point of departure for the young Swiss pianist Francesco Piemontesi who still remembers this moment as a shock that violently brought home the power of music. The sonic beauty and harmonic richness in the tolling of the bells set something off in his unconscious, sparking a lifelong quest for the timbres and sonorities that he is so deft at bringing to life on his piano. At the age of five, he tried to reproduce the sound of the bells on a little toy piano; at twelve, he played Grieg's Concerto in A Minor and started to perform in public. But two years later he became aware of the limits of his technical abilities and also of the strange tensions wracking his body. His encounter with the pianist Cécile Ousset was decisive. He re-learned his entire technique and turned to face his career with renewed confidence. Just like in a fairy tale, one day he received a letter from Alfred Brendel who had heard him by chance on the radio, and asked to work with him. After spending a whole hour on the first lines of Beethoven's Fourth Concerto, the young man would work on his whole repertoire with the great master, whom he would regularly visit in London. Later Murray Perahia would teach him the structures of a work, so he could build his own interpretations. Today, Francesco Piemontesi has become a master in his own right, playing all over the world with the greatest orchestras; he was also the musical director of the Ascona Music Weeks, where he heard all the greatest pianists of his youth. The Ticinese worked for a long time with Brendel to bring his Liszt to maturity, which allowed him to offer up this fine recording of the Première Année de pèlerinage, dedicated to his native Switzerland, which he knows so well. This new recording doesn't conjure up an image of Piemontesi as the superficial virtuoso, but rather of Liszt as a great creator of innovative harmonies, who would have so much influence on the generations that followed him. © François Hudry/Qobuz
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Klassiek - Verschenen op 7 oktober 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Award - Gramophone Record of the Month - Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 22 augustus 2011 | Sony Classical

Hi-Res Booklet Onderscheidingen Choc de Classica - Hi-Res Audio
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Concertmuziek - Verschenen op 2 oktober 2012 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 16 februari 2007 | Sony Classical

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Klassiek - Verschenen op 6 december 2019 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concertmuziek - Verschenen op 31 maart 2009 | Naxos

Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 8 juli 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet
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Klassiek - Verschenen op 24 oktober 2011 | naïve

Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc de Classica
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Vocale muziek (wereldlijk en religieus) - Verschenen op 1 maart 2019 | Alpha

Hi-Res Booklet
Franz Liszt was 67 when he composed his Via Crucis, yet it did not receive its first performance until 1929, 43 years after the composer’s death. This work of his mature years is in 15 sections, retracing the Stations of the Cross that mark the stages of Christ’s Passion, from being condemned to death to being laid in the tomb. Combining Gregorian chant, the Lutheran liturgy and the Latin, German and Aramaic languages, the Via Crucis shows real formal originality. A devout believer, Liszt gives us here his most important sacred work. He composed several versions: for mixed choir, soloists and organ (with the organ part optionally transcribed for piano), for piano solo, organ solo, and two pianos. After a first programme devoted to Janáček, the Collegium Vocale founded by Philippe Herreweghe is once again conducted by Reinbert de Leeuw in this Alpha recording. © Outhere
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Klassiek - Verschenen op 7 februari 2020 | Orfeo

Hi-Res
A pupil of the great Soviet-Georgian pianist Elisso Virsaladze, Amir Katz started studying piano in Israel before he established himself in Germany and perfecting his craft with Leon Fleisher and Murray Perahia. If Amir Katz is known for being an extremely sought-after accompanist, this album which pays tribute to Franz Liszt unveils his talent as a fully-blown concert pianist. His technique is fluid and charming, with a great reserve of strength and infinite variety of colours. After an original first part which is dedicated to a few etudes of concerts, from the Études d’après Paganini to the Réminiscences de Don Juan, Amir Katz throws himself into the Douze Études d'exécution transcendante that are presented here in their entirety. His utterly stunning technique brings an ever-changing perspective to these pieces. © François Hudry/Qobuz
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Piano solo - Verschenen op 14 september 2018 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 27 april 2018 | Aparté

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Athanor. A mysterious name to designate, in alchemy, the long-combustion furnace that produces the philosopher’s stone. This matrix, which symbolises the quest of one who seeks to the Absolute, is a metaphor of Liszt’s approach. With the patience of the alchemist who pursues the perfection of the material, the virtuoso composer and pianist has long matured the genesis of his two Piano Concertos and of the Totentanz: in fact, more than 20 years separate the first sketches of their publication. These three major works are each crossed by a powerfull and captivating leading theme, and driven by a logic of transformation: the Totentanz uses the theme and variations form while the concertos are unifyed by a unique theme that nourishes the whole musical flow through its metamorphoses. Pianist Beatrice Berrut, who was already venturing on the Lisztian paths in her previous record, testifies here to the infinite invention of the composer: she performs the first Concerto with its last variants noted by Liszt himself on the copy of his pupil Hans von Bülow. © Aparté
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Klassiek - Verschenen op 10 januari 2020 | Naxos

Hi-Res Booklet