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Klassiek - Verschenen op 12 april 2019 | Naxos

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Klassiek - Verschenen op 11 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
Daniil Trifonov's journey around the world of Rachmaninov is at an end. The pianist has arrived safely into the harbour with Yannick Nézet-Seguin's Philadelphia Orchestra. This finale was inspired by the bells which are ubiquitous in the Great Russian soundscape. Alain Corbin explained their importance to the rhythmic and symbolic scansion of everyday life in 19th Century France in his book Village Bells. To the historian's analysis, we can now add the testimony of the pianist – who, like Rachmaninov, grew up in Novgorod. Russian bells leant Russian music its nobility and colouring of folk nostalgia. Daniil Trifonov hasn't forgotten this, as is clear from his piano transcription of the first episode of Les Cloches. He was wise enough to respect the operatic power of the score and the splendour of its orchestration: harp, celesta and flutes are all truly transformed into bells in the hands of a musician who stays true to the aura of disquieting oddness (with its shades of Edgar Allen Poe) which surrounds the first movement. His technique matches his capricious and bubbling imagination. While we might find ourselves yawning a little at the Vocalise, the first and third Concertos move us from thrilling ecstasies to tears of pleasure. A very fine record, in which the orchestra, perhaps a little distant, fulfils its role as a soundbox for the soloist. © Elsa Siffert/Qobuz
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Concerten voor klavier - Verschenen op 12 oktober 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Le Choix de France Musique - Choc de Classica
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Klassiek - Verschenen op 11 mei 2018 | Naxos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
While Israeli-Russian pianist Boris Giltburg’s career is taking off all over the world, he has felt very close to Belgium ever since he won first prize in the 2013 Queen Elisabeth Competition. After several recordings for EMI (Warner), here he gives a studio rendition of the Third Concerto, and the Variations on a Theme of Corelli by Sergei Rachmaninov, on his tenth album for Naxos, which completes his often-unique approach to the Russian pianist-composer. The Études-tableaux and the Second Concerto divided opinion, with some seeing him as a "new Glenn Gould" (sic) who would do away with routines, while others drew attention to the total indifference of his style. Boris Giltburg's technique is such that he can give free rein to his imagination while taking care of the minute details of one of the most difficult concertos in the repertoire. Fascinated by the manufacture of instruments, in 2016 he took up the new 102-key piano from French manufacturer Stephen Paulello, a thrilling instrument which the musical world has been eagerly anticipating for a long time, and which proves that, just like in the 19th century, the piano can still evolve towards other sounds. For this Concerto n° 3, recorded at Glasgow's Royal Concert Hall, Boris Giltburg returns to his dear Fazioli piano and is joined by Mexican conductor Carlo Miguel Prieto at the head of the Royal Scottish National Orchestra. © François Hudry/Qobuz
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Klassiek - Verschenen op 6 mei 2016 | Naxos

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
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Piano solo - Verschenen op 16 februari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
Unfortunately no, dear reader, there is no such thing as a cycle of “24 Preludes” by Rachmaninoff; however there are indeed 24 Preludes: a collection of ten Op. 23 from 1903, 13 other Op. 32 from 1910 and one isolated Prelude from the Morceaux de fantaisie Op. 3 (Fantasy Pieces) from 1893. In total: 24 Preludes, in which as a simple count shows Rachmaninoff − much like Chopin and of course Bach − illustrated all major and minor tones. Deliberately random, or the involuntary drive to create a reasonably coherent cycle? Contrary to his two illustrious predecessors, Rachmaninoff didn’t order his Preludes according to a specific tonal plan: the musician’s fantasy develops bit by bit. Nikolai Lugansky – described by the famous magazine Gramophone as “the most innovative and transcendent interpreter of all” (so much for the others…), truly an extraordinarily deep and polyvalent pianist – decided to present the Preludes in the order prescribed by partitions, rather than reorganising them according to some hypothetical tonal logic, without knowing if Rachmaninoff would even have recommended or even considered it, particularly as the constant alternation of moods, independently of any tonal consideration, gives the piece a sense of perfect coherence. Finally it’s worth mentioning that Lugansky offers a very “original” interpretation of this divine music, which may feel like a re-discovery to some listeners. © SM/Qobuz
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Klassiek - Verschenen op 7 augustus 2020 | Deutsche Grammophon (DG)

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Piano solo - Verschenen op 9 februari 2018 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Twenty years of Russian piano: that's what we're being offered by the young pianist Jean-Paul Gasparian in his first - much-remarked-upon and very remarkable - discographic work. Gasparian starts in 1897 with Scriabin's Second Sonata (also known as the Sonata Fantasy), still strongly redolent of Chopin, but already showing a few of those harmonic equivocations which were so dear to the mystical composer). And then another Second Sonata, this one by Prokofiev in 1912 - with the "motoric", wild aspect very much to the fore. The pianist has made the very wise decision not to overdo the score's brutality, and carefully avoids drowning the work in noisome pedal effects. In the same year, 1912, Scriabin wrote his Three Études Op. 65 in the style of his late maturity, which shines through on Poem of Ecstasy: here again, the soloist opts for transparency, allowing the listener to really follow the harmonic and thematic content - if we can really give the name "themes" to these snatched vignettes, these stitched-together scraps, these ferocious sallies which sound like calls to musical revolt. The album opens with nine Études-tableaux Op. 39 by Rachmaninov, written in 1917, which mix the technical side of the étude with evocative art; deliberately imprecise, the composer never prescribes a programme, providing every listener and pianist with a blank canvas to fill as they see fit. To be sure, the "Isle of the Dead" element breaks out most fully in the second étude, in particular with the deathlessly evocative scraps of the Dies irae... In any case, let us welcome Jean-Paul Gasparian to the great European stage, after his short-notice stint as a stand-in for Zacharias in Germany, and whose career is unfolding with speed and confidence. © SM/Qobuz
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Symfonische muziek - Verschenen op 3 september 2013 | Naxos

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Klassiek - Verschenen op 10 maart 2017 | Sony Classical

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Klassiek - Verschenen op 1 januari 2014 | Decca Music Group Ltd.

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Symfonische muziek - Verschenen op 2 april 2013 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 1 oktober 2012 | Ambroisie

Hi-Res Onderscheidingen Diapason d'or - Choc de Classica - Exceptional Sound Recording - Hi-Res Audio
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Klassiek - Verschenen op 10 juni 2015 | EXTON

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Klassiek - Verschenen op 10 april 2020 | MUSO

Hi-Res Booklet
During the Queen Elisabeth Competition 2016, a young Italian pianist aged 19 garnered a lot of attention. Alberto Ferro, already a laureate of many prizes, won the Audience Prize before winning one year later First Prize, both analytical and sensitive, served by faultless technique, this is what was so promising and it was confirmed with his first recording, devoted by the young Sicilian to Rachmaninov, one of his favourite composers. The Études-Tableaux Op. 33 were composed in 1910 in Rachmaninov’s tranquil country retreat; the others from Op. 39 date from 1916/17 and were the last pieces he wrote in Moscow, shortly before his American exile. At the time Rachmaninov was already the composer of a consequential catalogue for solo piano; the writing for ‘his’ instrument had thus attained a very high level of sophistication and subtlety adding to an incomparable understanding of the instrument’s powers of expression. The designation ‘Étude-Tableau’ is Rachmaninov’s own; close to the formal level of Chopin’s Ballades, they allow poetic interpretation even though they are entirely constructed from musical and technical ideas. The Russian master let slip very few indications concerning the precise extra-musical links that might have been at the origin of his works. He did reveal his precise sources of inspiration in letters to Respighi who orchestrated five of his miniatures; however, for the other, Rachmaninov never provided the slightest context, leaving it to the listener to work on his imagination! The virtuosity required for these albums is far from being an end in itself, it being rather the means of expression for the feelings. These two albums are marked by the dazzling liveliness of this music: at times virile and imperious, at times subtle and discreet, yet always at the service of an astonishingly broad palette of emotions. © muso
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Klassiek - Verschenen op 2 februari 2018 | BR-Klassik

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Record of the Month - Le Choix de France Musique - 5 étoiles de Classica
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Klassiek - Verschenen op 6 maart 2020 | Channel Classics Records

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Trio´s - Verschenen op 3 mei 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Rachmaninoff's output of chamber music is small but all the more precious for that. Two absolute gems bear witness to the fact: these ‘elegiac trios’, which were produced by a young composer still indisputably under the influence of Tchaikovsky. But Rachmaninoff’s personality is already fully present, reaching heights of emotion and expressiveness. The pieces by Suk and Grieg add a further touch of character to the picture, which is painted with an exceptionally rich palette: the artistry of the phenomenal Trio Wanderer! © harmonia mundi
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Concerten voor klavier - Verschenen op 1 mei 1966 | Chandos

Onderscheidingen Choc du Monde de la Musique - 10 de Répertoire - The Qobuz Ideal Discography
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Klassiek - Verschenen op 24 februari 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles Classica - 5 Sterne Fono Forum Klassik