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Kamermuziek - Verschenen op 13 oktober 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
Bach (Johann Sebastian, that is) or not Bach? This is the question that the violinist Amandine Beyer and the ensemble Gli Incogniti asked themselves by seizing a handful of works long thought to be from the Kantor and that we now know to be from other composers—known, identified or not. Thus, the Sonata BWV 1024 may have “ended up” in Bach’s repertoire because a musicologist knew how to use the right scientific arguments (paper, copyists, geographical and historical contexts) to achieve his goal. The style of the composition, which admittedly is a bit reminiscent of Bach, cannot however quite fall in line with the musician’s writing style. Therefore, in order to avoid the sonata disappearing back into anonymity, it has now been attributed to Pisendel, rightly or wrongly. The Trio BWV 1036 is from Carl Philipp Emanuel Bach—we were always quite sure of that, even if some less scrupulous releases have omitted the first name… The Trio BWV 1037 seems to be from Goldberg (the one from the Variations). The Suite in A major BWV 1025 is of somewhat ambiguous paternity, but it’s actually an arrangement Bach created for violin and harpsichord using the Suite SC 47 for lute that his friend and colleague Silvius Leopold Weiss composed. These are a few works that, after long being in the paradise of being attributed to Bach, are now in the hell of the “fake”, even if it’s not the fault of the composers that wrote them! What a pity… © SM/Qobuz
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Klassiek - Verschenen op 11 oktober 2019 | Château de Versailles Spectacles

Hi-Res Booklet Onderscheidingen Qobuzism
Bach celebrated his first Christmas in Leipzig (1723) in style. On the morning of 25 December, his cantata Christen, ätzet diesen Tag, BWV 63 resounded in the church of Saint Thomas. It opens and closes on a great choir, a perfect prelude to the Magnificat, BWV 243A played at afternoon vespers. The young conductor Valentin Tournet (23 years old!) is particularly interested in the lesser- known aspects of Bach's great works. And so for his ensemble's first release, he has chosen to record the first version of the Magnificat. Written in E-Flat Major, a great key for horns, this score prefers recorders, with their pastoral timbre, to traverso flutes. Much less-played and - recorded than the revised version of 1743 (in D Major and numbered BWV 243), this score is offered here alongside four laude for the Nativity. Valentin Tournet brings courage and talent to these works and presents us with a particularly brilliant version, thanks to well-made, judicious choices. A viol player, he is sensitive to the vital energy which the cello unleashes, provided that it isn't overpowered by the organ (a positive organ has been selected for this reason). The piece's élan is all the greater because the soloists don't restrict themselves to their own arias, but mix with the choir. The continuity is total, and the emotion is truly collective. © Elsa Siffert/Qobuz
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Piano solo - Verschenen op 7 september 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Concertmuziek - Verschenen op 4 september 2015 | Alpha

Booklet Onderscheidingen Diapason d'or - 4 étoiles Classica
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Piano solo - Verschenen op 11 september 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Concerten voor viool - Verschenen op 15 maart 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, here is the next instalment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43. This fascinating achievement is a timely reminder that the master of The Well-Tempered Clavier was also a virtuoso violinist! © harmonia mundi
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Klassiek - Verschenen op 10 april 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet
It’s a strange feeling seeing Trevor Pinnock’s name again on the front of a Deutsche Grammaphon release, more than twenty years since the release of his numerous productions for the yellow label’s former sub-label dedicated to early and baroque music, Archiv Produktion – yet it’s also rather exciting. The artist produced the album himself with the help of renowned sound engineer and artistic director Philip Hobbs who has succeeded in capturing the beauty of his instrument built by David Way, modelled on an instrument by Henri Hemsch. This recording of Book I of J.S. Bach’s The Well-Tempered Clavier, recorded at the Colyer-Fergusson Hall at the University of Kent in August 2018 and January 2019, was a dream come true for the British harpsichordist as he admits in the touching introductory text, confessing his lifelong admiration for the dual character of the first book. For example, some diptychs have a completely educational, almost formalist character which is ideal for those learning the art of playing or composition, while others, such as the final Prelude and Fugue in B minor are revelatory of a greater ambition for composition and innovation, and even border on the abstract, and are therefore more difficult for novice musicians to grasp. Pinnock also notes that this music is essentially intended to be listened to and shared in small circles between family and pupils, for example. The intimate tone is indeed striking when listening to this interpretation for the first time. The harpsichordist had no hesitation in including all twenty-four preludes and fugues from the first book, unified in their ensemble by a certain lightness. Even within the robust framework, his playing exudes happiness, a sense of joie de vivre, even in keys that are usually more melancholic (Prelude and Fugue in E minor(), subdued (Prelude and Fugue in B flat minor, sombre (Prelude and Fugue in F minor) or uneasy (Prelude and Fugue in G sharp minor), throughout the two hours that this First Book lasts. An enthralling version not to be missed. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 22 maart 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
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Klassiek - Verschenen op 7 februari 2020 | Phi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Bach’s St. John Passion, with its famous opening chorus traversed by shadows and light, is a powerful musical and spiritual reflection. Dramatic, grandiose, complex, resolutely theatrical: there has been no lack of superlatives to describe this supreme masterpiece of western music. Philippe Herreweghe and Collegium Vocale Gent present an accomplished reading that reflects their knowledge of the composer, based on extensive research and deepened by countless concerts. Soloists Krešimir Stražanac and Maximilian Schmitt demonstrate the breadth of their talents in the roles of Jesus and the Evangelist. © Phi
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Klassiek - Verschenen op 14 juni 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 17 augustus 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
What do you mean, “Six evolutions”? It’s an intriguing title, almost esoteric… The cellist Yo-Yo Ma, who needs no introduction after a worldwide career of some fifty years, pens here his third (and ultimate, according to him) recording of Bach’s Solo Cello Suites. The first, while he was in his twenties, gave rise to enthusiasm, the second—in his forties—gave rise to emotion, so what will this final vision give rise to, now that he is in his late sixties? Serenity and joy, probably, and the completion of a triple discographic evolution. That being said, we still cannot explain the “Six evolutions”, and you will have to dive into a small corner of the accompanying booklet to find an indication, giving little more information, it is true, since it comes with no clarification: 1) Nature is at play, 2) Journey toward the light, 3) Celebration, 4) Construction/Development, 5) The struggle for hope, and 6) Epiphany. Well… Whatever it be, and despite what he said—and the amazing quality of this interpretation—let’s meet in 2038 to find out if he doesn’t decide to give a new interpretation in his eighties! © SM/Qobuz
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Missen, passies, requiems - Verschenen op 7 oktober 2013 | harmonia mundi

Hi-Res Booklet Onderscheidingen Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Kamermuziek - Verschenen op 7 juni 2019 | BIS

Hi-Res Booklet
In 1985 the Russian violinist Vladimir Spivakov published his own arrangement of the Goldberg Variations for a string trio at the time of the tricentennial anniversary of the birth of Johann Sebastian Bach. Dedicated to the memory of the Canadian pianist Glenn Gould who recently died, this deft transcription has since made a tour of the world and many recordings have flourished. When it came to recording their Goldberg, the Zimmermann trio (Frank Peter Zimmermann on violin, Antoin Tamestit on viola and Christian Poltéra on cello) decided to propose their own version of the string trio which was, according to the musicians, “neither an arrangement nor a transcription, but essentially a unveiling of Bach’s score”. The result is splendid as much is the exceptional capture of the three Stradivarius instruments used in this recording by the engineers of BIS. There is a pleasant “grainy” sound in the air between the notes and the perfectly balanced reverberations. A total success thanks to the addition of high-quality instruments, instrumentalists and technique. © François Hudry/Qobuz
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Klassiek - Verschenen op 22 mei 2020 | Delphian

Hi-Res Booklet
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Klassiek - Verschenen op 22 februari 2019 | Ramée

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life. © Ramée/Outhere
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Viool solo - Verschenen op 19 april 2019 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 15 november 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason
Composed three centuries ago, Johann Sebastian Bach’s set of six works for solo violin stands as one of the holy grails of the instrument’s literature – perhaps the holiest. Now the great Austrian musician Thomas Zehetmair makes his own mark in the rich history of this music, revisiting the repertoire on period instruments. Zehetmair is an extraordinary violinist and a consistently inquisitive and self-questioning artist. He has not only played the big concertos but has given close attention to chamber music and new repertory, and has also found an extra calling as a conductor, channeling this varied experience into his return to the formidable cornerstone of Bach’s solo masterpieces. As a young man Zehetmair worked with Nikolaus Harnoncourt in his period ensemble, working with him to prepare for his first recording of the sonatas and partitas on a modern instrument. For this new recording, he draws out exquisite colours from two violins from Bach’s lifetime, both of them by masters in the German tradition, but there is nothing antiquarian in his approach – old instruments, for him, are tools with which to express a modern sensibility: alert, edgy, multivalent. His performance engages, too, with the superb acoustic of the priory church of St Gerold, in Austria where so many legendary ECM recordings have been made. Peter Gülke, in his accompanying essay, refers to the “floating spirituality” of this music, and to how Bach here offers one side of a conversation with the performer, whom he leaves free to determine matters of dynamic shading, phrasing and bowing. Zehetmair brings vividness and intelligence to the conversation on a recording that, deeply steeped in the music and true, is at the same time powerfully original. © ECM New Series
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Klassiek - Verschenen op 29 september 2011 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Klassiek - Verschenen op 27 maart 2020 | Claves Records

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
This recording was made in April 2019 at the Ernest-Ansermet Studio in Geneva, after five concerts in Switzerland during the preceding days. The desire to be as faithful as possible to the rhythm of the drama of the Passion and to the evidence of the musical sequences, which is easier to feel during a live performance than in front of the relative abstraction of the microphones, as well as a non-negligible time constraint (three and a half days in the studio for a work of 160 minutes), pushed the members of Gli Angeli Genève to record long takes, sometimes including up to 10 or 12 minutes of music, thus getting as close as possible to the feeling of a concert. In concert, with small vocal groups, Gli Angeli Genève systematically places the singers in front of the instruments regardless of repertoire, so as to give speech in music the most prominent place possible. When recording, since the audience’s crucial role cannot be replaced by the microphones, the musicians place ourselves in a large circle, all facing each other. They can see each other playing, singing, vibrating, breathing and reacting. The idea of reaction is central to this work where, when the action of the story is suspended, it is immediately replaced by emotion and poetic as well as musical beauty that Matthew’s story inspired in Bach and Picander. Airs as well as chorales. And within this circle they can react together, engage in dialogue, and see themselves feel the drama and powerful affects that mark the work relentlessly. And then they can share the pleasure and sometimes the awe - so beautiful is the music – of being able to live all this together. Forming a circle to make this music and observing the extraordinary musicians of Gli Angeli Genève at work led Stephan MacLeod (the conductor) to realise the extent to which The Saint Matthew Passion has structured the career and relationship to music of many of his colleagues. © Claves Records
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Klassiek - Verschenen op 7 oktober 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Gramophone Record of the Month - Le Choix de France Musique