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Balletten - Verschenen op 9 maart 2018 | Naxos

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
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Klassiek - Verschenen op 12 januari 2010 | LSO Live

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Klassiek - Verschenen op 22 januari 2021 | Warner Classics

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The third and last of the "war Sonatas", the Eighth Sonata was premiered by Emil Gilels in 1944. Serious and virtuosic, it is also the longest and, probably, the most "human" (Michel Hofmann) sonata by its author. The French-American pianist Nicholas Angelich gives a fascinating translation, with great fluidity, with much left unspoken, and a heightened sense of  poetic and dreamy sound. This album, which is wholly dedicated to Prokofiev is of a very high standard. Thanks to his exceptional technical mastery and his musical intelligence, Nicholas Angelich manages to reveal the infinite richness of a music too often known for its virtuosic side, which tends to be, under some fingers, quite brutal.The twenty pieces of Visions Fugitives unfold with a wide variety of refined, liquid and mysterious timbres. The performer's fine filigree work perfectly matches that of the composer in this beautiful recording that ends brilliantly with a selection of five pieces from the ballet Romeo and Juliet transcribed for the piano by the composer himself. The variety of the colours and the power of Angelich's piano would almost make us forget the orchestral magic of this famous score. © François Hudry/Qobuz
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Klassiek - Verschenen op 2 oktober 2020 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or
As a composer Sergei Prokofiev was so versatile that audiences never quite knew what to expect. As a strategy, this could misfire but with his first symphony he got things just right. He once described what he had wanted to achieve: "If Haydn had lived into this era he would have kept his own style while absorbing things from what was new in music. That’s the kind of symphony I wanted to write...". The "Classical" Symphony has been a true classic since its first performance in 1918 and is one of the few genuinely witty pieces in the twentieth-century orchestral repertory. A few months after the performance, Prokofiev left Russia for the USA where he remained for some years before settling in Paris in 1923. It was here that he composed the Second Symphony, now with the aim to be as up-to-date as possible. The first audience in 1925 was more bewildered than enthusiastic, however, and Prokofiev himself came to have doubts, wondering whether in this symphony "made out of iron and steel" he’d overdone the rough counterpoint and density of texture. He now returned to a project he had been working on for several years – the opera The Fiery Angel. In 1928, when he began to think that no opera house would take it up, Prokofiev decided to reuse the music and found that "the material unexpectedly packed itself up into a four-movement symphony" – his Third, characterized by an overwhelming sense of anxiety and tension. © BIS Records
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Symfonische muziek - Verschenen op 2 februari 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Uitzonderlijke Geluidsopnamen
In addition to Prokofiev’s two violin concertos – whose ample discography is brilliantly enriched by this interpretation of Georgian violinist Lisa Batiashvili and the excellent conductor Yannick Nézet-Seguin –, the album also features three treats from Prokofiev arranged by Tamás Batiashvili, the father of the aforementioned Lisa and a renowned teacher in his country. These are rewritings for solo violin and orchestra of the Dance Of The Knights from Romeo and Juliet, the Grand Waltz from Cinderella and the nefarious and quirky Grand March from The Love For Three Oranges. Batiashvili – the father – streamlines the message, allowing the solo violin to showcase its full power in moments that were bloated in the original partition, particularly in the rather bulky Dance Of The Knights which, losing some of its imposing weight, gained lyricism in return. As for the two concertos, they benefit greatly from the reasonably sized Chamber Orchestra of Europe, as it perfectly lets Prokofiev’s writing shine through. © SM/Qobuz
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Concerten voor viool - Verschenen op 4 september 2012 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 26 juni 2020 | harmonia mundi

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After recording the complete Prokofiev concertos, Vadym Kholodenko returns to his favourite composer. The pieces assembled here reveal several facets of Prokofiev: an outstanding melodist, a ‘classicist’ on the fringes of the avant-garde, and eventually the herald of a Soviet realism that was anything but servile. The freedom peculiar to the composer-pianist ‘with fingers of steel’ is brought out in all its vitality by the subtle yet never showy playing of this Ukrainian artist. © harmonia mundi
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Concerten voor klavier - Verschenen op 4 februari 2014 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
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Klassiek - Verschenen op 1 mei 2010 | Naxos

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Klassiek - Verschenen op 30 november 2018 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica
Through his “brilliance and maturity” (as described by The Guardian) the Russian-Lithuanian pianist Lukas Geniušas has established himself on the international scene as one of the most interesting artists of his generation. He has appeared in London's Wigmore Hall, Amsterdam's Concertgebouw, Milan's Salle Verdi, Moscow's Conservatory and Roque d'Anthéron, and with orchestras such as the Philharmonique de Radio France, the National de Lyon, the NHK of Tokyo, the Saint Petersburg Philharmonic, the Russian National Orchestra, the list goes on... He has chosen here a Prokofiev programme combining early works from his younger years (the Ten Pieces Op. 12 which is a junior work and yet so intimately prokofievian already!) with the work from his first stage of maturity (Second Sonata from 1912) and the work from his full maturity (the Fifth Sonata). Even better, this Fifth Sonata was written "for the first time" in 1923 after his time in Paris, then revised three decades later under the constraint, undoubtedly, of the infamous Jdanov decree which had accused the composer of all anti-Soviet evils, but also due to a very personal concern (he wanted to purify the piano gesture). In a way this work seems almost "Parisian" as it has so many similarities with Poulenc's style. © SM/Qobuz
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Symfonische muziek - Verschenen op 26 maart 2013 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 3 november 2017 | PentaTone

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Symfonische muziek - Verschenen op 5 mei 2015 | BIS

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 22 februari 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Klassiek - Verschenen op 24 augustus 2016 | Lawo Classics

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Klassiek - Verschenen op 5 augustus 2016 | BIS

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Klassiek - Verschenen op 25 oktober 2019 | harmonia mundi

Hi-Res Booklet
With this new album devoted to Prokofiev, cellist Bruno Philippe continues his exploration of Russian music. Having already recorded a recital of Rachmaninov’s and Myaskovsky’s Sonatas with Jérôme Ducros, here he is reunited with his long-time musical partner Tanguy de Williencourt on the piano, but also with his mentor, conductor Christoph Eschenbach leading the hr-Sinfonieorchester Frankfurt. On the program, Prokofiev’s (surprisingly?) romantic Cello Sonata, coupled with his Sinfonia concertante, that Mount Everest of technical challenges – both works having been written for the great Rostropovitch, who gave them their first performances in 1950 and 1952. © harmonia mundi
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Klassiek - Verschenen op 5 mei 2015 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 23 maart 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or
Nestled up cosily with Sergei Babayan, gazing into the distance, rather like Juliet next to Romeo, Martha Argerich seems to have had an eye on marketing when she produced the "Prokofiev for Two" album cover for her longstanding publisher, Deutsche Grammophon. Although well-known, these works haven't yet been released in this format: each of the 19 pieces is an accomplished transcription by Sergei Babayan. More than half of this album is given over to extracts from the ballet Romeo and Juliet, originally a symphonic work, but one that sounds devilishly good when brought to life by these two exceptional pianists. The remainder of the album is made up of various pieces of stage music, from Hamlet, Eugene Onegin and the opera War and Peace. This is a reinvigorating album, with an eighty-year-old Martha Argerich who has lost none of her extraordinary technique. As for the Armenian pianist Sergei Babayan, a student of Mikhail Pletnev and a teacher of Daniil Trifonov, he seems to be having great fun with his own transcriptions alongside his long-time partner and friend. © François Hudry/Qobuz