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Klassiek - Verschenen op 22 januari 2021 | Accentus Music

Hi-Res Booklet
Some orchestras more than others reveal with natural acuity the sonic and poetic imagination of a composer. For Mahler, the Bamberg Symphony Orchestra seems the ideal instrument. Something very deep in the textures of this orchestra invariably sets it apart: the acoustic space always seems wider than the senses might suggest; the sound takes the time to live, in the moment and in its extension. The orchestra immediately moves Mahler's world away from a post-romanticism that diminishes him, and likewise it declines to plunge him into excessive modernity. This is not Klemperer, Bernstein or Boulez. This is a very singular world, whose rhetoric is really nourished by the freedom granted to each timbre, and by the combination of what makes them unique. In concert, the experience remains as memorable as it is breathtaking. Parisians for example had the chance, in February 2019, to hear the Third Symphony at the Philharmonie by the same artists, then on tour, at an evening performance recorded by France Musique.Musical director of the Bamberger Symphoniker since 2016, the excellent Jakub Hrůša, always concerned with balance, lets the orchestra flourish and open like a flower, with multiple layers, while making sure to keep the line flowing. In this regard, Ruhevoll is a moment of pure beauty, unheard of sensitivity, with phrasing, polyphonic balances – the opening theme! If you really like Mahler, you cannot miss this absolutely essential, immersive journey into the heart of nature. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 9 oktober 2020 | harmonia mundi

Booklet Onderscheidingen Diapason d'or / Arte
Known for her brilliant work in Mozart’s roles, the German soprano Christiane Karg also excels in Puccini (Musetta in La Bohème), Richard Strauss (Zdenka in Arabella) and even in the title role of Claude Debussy’s Pelléas et Mélisande. This “Erinnerung” (Memory) recital is dedicated to a selection of Lieder by Gustav Mahler, drawn largely from his vast collection of popular songs from the Knaben Wunderhorn, some early compositions, and the Rückert-Lieder - one of the composer’s most accomplished cycles.On piano, his long-standing partner Malcom Martineau is an ideal match. He wonderfully modulates his sound to match the singer’s every intention. The final two pieces in this recording are unusual for the fact that he hands the piano over to the composer himself! Gustav Mahler has indeed “recorded” his compositions (such as Ich ging mit Lust and the famous Das himmlische Leben which closes Symphony No. 4) on perforated card for a Welte-Mignon system.Approached on a modern keyboard, the Welte-Mignon’s automatic articulated fingers reproduce Mahler’s tempo, intentions and, to some extent, touch. It’s obviously not a perfect replication, but Christiane Karg’s considerable effort to follow his tortuous rhythm is tremendously moving. © François Hudry/Qobuz
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Klassiek - Verschenen op 28 mei 2021 | Bayerische Staatsoper Recordings

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“If one sought a musical manifestation of all the painful experiences and tragic failures of European history in the early 20th century, it would be impossible to overlook the symphonies of Gustav Mahler. Here, there is no harmony where discord is more fitting. Here, life cries out, with all the conflict and joy it prof-fers humanity. In their performances, Kirill Petrenko and the Bayerisches Staats-orchester have enabled these experiences to resonate in remarkable fashion. What better way to launch the Bayerische Staatsoper’s new label than with this outstanding live concert recording”. (Nikolaus Bachler, General Manager, Bayerische Staatsoper) Kirill Petrenko, general music director of the Bayerische Staatsoper from 2013 until 2020, conducts Gustav Mahler’s Symphony No. 7 – a pinnacle of the symphonic repertoire in a dramatic interpretation. This is the first audio-recording with Kirill Petrenko as chief conductor of the Bayerisches Staatsorchester. © Bayerische Staatsoper Recordings
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Klassiek - Verschenen op 28 augustus 2020 | PentaTone

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Vocale muziek (wereldlijk en religieus) - Verschenen op 18 september 2020 | Alpha

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This recording was made under the direction of Reinbert de Leeuw in December 2019, two months before his death. A few weeks before that, he had called Thomas Dieltjens, artistic director of Het Collectief, to tell him: ‘Since our concert in mid-July 2019 at the Saintes Festival, I’ve been haunted by Das Lied von der Erde. I’m totally under its spell, and every day I discover new things in this masterpiece by Mahler. Wouldn’t it be a dream if we could record this music with the outstanding group of instrumentalists and soloists we had in Saintes? And preferably as soon as possible?’ Reinbert himself made the arrangement for fifteen instrumentalists and two soloists and invested all his remaining strength in the recording of this music, which encompasses the whole of life, from the freshness of birth to the moment of farewell... A testamentary album, with the moving mezzo-soprano Lucile Richardot, which gives us an opportunity to pay tribute to one of the key ambassadors of twentieth-century music. © Alpha Classics
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Klassiek - Verschenen op 5 februari 2021 | BIS

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Left unfinished at the death of the composer, Gustav Mahler's Tenth Symphony has exerted an enormous fascination on musicologists as well as musicians – a kind of Holy Grail of 20th-century music. Recognized as an intensely personal work, it was initially consigned to respectful oblivion, but over the years, Alma Mahler, the composer’s widow, released more and more of Mahler’s sketches for publication, and gradually it became clear that he had in fact bequeathed an entire five-movement symphony in short score (i.e. written on three or four staves). Of this, nearly half had reached the stage of a draft orchestration, while the rest contained indications of the intended instrumentation. Over the years a number of different completions or performing versions of ‘the Tenth’ have seen the light of day. One of the most often performed and recorded of these is that by Deryck Cooke. Cooke himself insisted that his edition was not a ‘completion’ of the work, but rather a functional presentation of the materials as Mahler left them. Cooke’s performing version of the symphony is the one that Osmo Vänskä has chosen to use for the seventh installment in his and the Minnesota Orchestra’s "Mahler series", a cycle characterized by an unusual transparency and clarity of sound as well as musical conception. © BIS Records
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Klassiek - Verschenen op 5 juni 2020 | BIS

Hi-Res Booklet
In an effort to arrange the first performance of his Seventh Symphony, Gustav Mahler declared it to be his best work, ‘preponderantly cheerful in character’. His younger colleague Schönberg expressed his admiration for the work, and Webern considered it his favourite Mahler symphony. Nevertheless, it remains the least performed and least written-about symphony of the entire cycle, and has come to be regarded as enigmatic and less successful than its siblings. One reason for this has been the huge – even for Mahler – contrasts that it encompasses: from a first movement which seems to continue the atmosphere of the previous symphony, the ‘Tragic’ Sixth, to a finale that has been accused of excessive triumphalism, and which Mahler himself once described as ‘broad daylight’. Between these two poles, he supplies no less than two movements entitled Nachtmusik framing a Scherzo to which the composer added the character marking "schattenhaft" (shadowy). Mahler famously said that ‘a symphony must be like the world. It must embrace everything’. The Seventh is as true to this dictum as any other of the symphonies, offering a wealth of emotions, moods and colours. The composer makes full and imaginative use of the orchestra’s extended wind and percussion sections – including cowbells, whips and glockenspiel – as well as a mandolin and a guitar, adding a troubadour-like aspect to the nightly serenade of the fourth movement. All of this is brought to life by the players of the Minnesota Orchestra under Osmo Vänskä, as they continue a cycle praised for the performances as well as the recorded sound. © BIS Records
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Klassiek - Verschenen op 1 januari 2013 | Decca Music Group Ltd.

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Symfonische muziek - Verschenen op 7 februari 2011 | Warner Classics International

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Hi-Res Audio
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Klassiek - Verschenen op 3 juli 2015 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
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Symfonieën - Verschenen op 7 juni 2021 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 18 april 2006 | Naxos

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Vocale muziek (wereldlijk en religieus) - Verschenen op 30 april 2013 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Symfonieën - Verschenen op 26 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
With Symphony No.6 in A Minor "Tragic" written in 1904 (the title, for once, is not a publisher's gimmick, but was indeed given by Mahler in the programme for the first performance in Vienna in 1906), Mahler almost returns to the classical symphony format; we find more voices in the score (a technique that he had already used in No. 5) and a four-movement structure (whereas No. 5 was articulated in five movements thrown into three "parts", with the absence of a programme or philosophical content). Admittedly, the orchestra remains huge, with four woodwinds, eight horns, and six trumpets, not to mention an impressive arsenal of percussion instruments including alpine bells, hammer and xylophone, which he never used elsewhere; in this respect, Mahler contributed to putting an end to the late romantic trend of gigantic works for titanic orchestras. It must be said that the last movement, which lasts at least half an hour, is of a truly tragic expression with its indelible darkness. This frightened the critics, who found the work somewhat bloated. It is therefore up to the conductor to make the score as transparent as possible, the contrapuntal lines readable and the orchestral colours perceptible through the orchestral immensity. Equipped with his MusicAeterna, Teorod Currentzis embarks on the adventure. © SM/Qobuz
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Klassiek - Verschenen op 1 januari 2000 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 6 december 2019 | BIS

Hi-Res Booklet Onderscheidingen Choc de Classica
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Klassiek - Verschenen op 19 juli 2019 | London Philharmonic Orchestra

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Wie schön, die vielen Glissandi! Die haben uns gefehlt. Zu einer Zeit, in der sich alle Dirigenten, ob jung oder alt, verpflichtet fühlen, ihren Beitrag zu Mahlers Werk zu leisten, während so viele andere Repertoires es verdienen, entdeckt zu werden, scheut Vladimir Jurowski, der sich bereits mehrfach ausgezeichnet hat, und zwar mit großer Freude in der Welt des "tschechischen" Komponisten (Symphonie Nr. 1, Symphonie Nr. 2, Totenfeier), nicht davor zurück, Lösungen zu finden, die heute besonders zweifelhaft erscheinen. Es ist eigenartig, aber so viel Stil kann man nicht ablehnen... Wie Ruhevoll es hier ist! Jurowski setzt seine mahlersche Reise hier mit der Symphonie Nr. 4 fort. Und er bietet einen völlig neuen Weg, bei dem sich die Stimmen von Dvořák und Janáček mit denen von Bruckner und Strauss verbinden. Wäre Mahler vielleicht eine Synthese? Auf jeden Fall ist er gerade deshalb modern und Jurowski weiß das. All dies scheint für ihn zu einem Spiel zu werden. Suchen Sie nicht nach Äther (Auf Wiedersehn Abbado) und auch nicht nach der Ewigkeit (Haitink). Stattdessen gurgeln die großen Flöten, meckern die Klarinetten, erröten die Fagotte, toben die Pauken, und über all diesem böhmischen Lärm fangen die Geigen vor lauter "Beißen" sogar zu singen an. Die vielschichtige Poetik von Bedächtig ist noch nie so um jeden Preis lebendig, natürlich, in strahlendem Dur erklungen. Die Skordatur des zweiten Satzes gibt uns eine kleine Vorstellung von der Hölle und eine Art Vorgeschmack auf die Burleske der Neunten. Aber das Horn besteht immer noch darauf, gehört zu werden, und die Lyrik wird alles gewinnen, auch im Herzen der wiedergekehrten Hölle. Im Schlusslied (Sehr behaglich) führt die perfekte Stimme der Sofia Fomina ihren luftigen Tanz auf, mit einem Hauch kindlichen Geists (Reinheit, Einfachheit), der über „Kein' Musik ist ja nicht auf Erden die unsrer verglichen kann werden“ hinausgeht. Und plötzlich stellt sich die Frage, ob etwa Seefried und Walter die Inspiration für Jurowskis bezaubernde Lesart, einem wahren "Sacre du Printemps" Mitteleuropas, sind? Und wann erscheint die Symphonie Nr. 6? © Pierre-Yves Lascar/Qobuz
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Symfonische muziek - Verschenen op 15 februari 2010 | Warner Classics International

Hi-Res Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 7 juli 2017 | BIS

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 5 februari 2021 | Orfeo

Mahler’s cantata Das klagende Lied today constitutes a veritable rarity in concert programmes – in an age that without contradiction recognizes Mahler as one oft he most eminent milestones in the music history of the late 19th and early 20th century. Based on a horror tale written by Mahler himself, this large-scale, vocal symphonic work forms the beginning of Mahler’s more familiar oeuvre. Mahler, at the age of only 20, submitted the score for the Beethoven Prize at the Society of the Friends of Music in Vienna. He did not receive this prize, however, and subsequently made several revisions. It was finally premiered by the composer in Vienna on 17 February 1901 only. The "mixed version" (also employed for this recording) consisting of the original first movement and the revised version of the other two parts, became customary in the course of the great Mahler Renaissance in the 1960s. The presented live capture with the 2019 deceased Michael Gielen – like Mahler not only a conductor but also a composer – with the ORF Vienna Radio Symphony Orchestra was taken in June 1990 in the Konzerthaus Vienna. © Orfeo