Albums

788 albums gesorteerd op Date: from newest to oldest
€ 8,99

Kamermuziek - Verschenen op 15 april 2018 | Arion

€ 14,99

Klassiek - Verschenen op 2 maart 2018 | Deutsche Grammophon (DG)

€ 13,49
€ 8,99

Duo´s - Verschenen op 23 februari 2018 | Indésens

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
€ 14,99
€ 9,99

Symfonische muziek - Verschenen op 9 februari 2018 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason
‘Travel’ and ‘journey’ are often appropriate metaphors for the music of the Estonian composer Erkki-Sven Tüür (b. 1959). The composer himself describes his viola concerto Illuminatio as a “pilgrimage towards eternal light”, and with his Symphony No. 8 he stresses the importance of a “constant sense of ‘being on the road’”. This says something essential about the dynamics, growth and development of his music. To take a broader view, Tüür’s entire career may be described as a journey: in the course of his professional life beginning in the 1980s, he has thoroughly revised and reformed his idiom and compositional precepts. His ambitious journey began in rock music while at the same time he was studying flute, percussion and composition at the Conservatory. Since 1992 he has been a freelance composer. In his early career, Tüür developed a ‘polystylistic’ approach that combined minimalist and tonal elements on the one hand, modernist features on the other, into an idiom where he juxtaposed elements from different and seemingly incompatible styles, seeking both contrasts and syntheses. In the early 2000s, he went through a transition that resulted in his new composition technique. Here, “the entire composition is encapsulated in a source code – a gene which, as it mutates and grows, connects the dots in the fabric of the whole work”. All the works on the present album are from this period. The core of Tüür’s output consists of extensive orchestral works (including nine symphonies and several concertos), chamber music and vocal works. Whereas the viola concerto can be compared to a journey, Whistles and Whispers from Uluru (2007) for recorder and chamber orchestra was inspired by a landscape and a sonority. The piece was written to a commission from the Australian Chamber Orchestra for recorder virtuoso Genevieve Lacey, who also plays on this album – several different recorders, from sopranino to bass. Some sonorities are enhanced by electronic means. When a composer has written nine symphonies, the genre is obviosuly very important for him. In the case of Tüür, the term ‘symphonic’ must be understood in a broad sense – not as a strict formal scheme, but rather as a uniquely shaped and independently formed structure in each work. Tüür’s symphonies form the hard core of his output, spanning the length of his career, the first dating from 1984 and the latest from 2017. The symphonies vary greatly in terms of form, ensemble and idiom. Symphony No. 8 was commissioned by the Scottish Chamber Orchestra and was completed in 2010. Considering the resources of the commissioning party, Tüür scored the work for a sinfonietta-type ensemble instead of a large symphony orchestra, and as a result the music has at times a chamber music feel. © SM/Qobuz
€ 11,99
€ 7,99

Symfonische muziek - Verschenen op 8 december 2017 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or
€ 13,49

Piano solo - Verschenen op 24 november 2017 | Piano Classics

Booklet
€ 9,99

Wereldlijke vocale muziek - Verschenen op 10 november 2017 | SWR Classic

Booklet Onderscheidingen 5 de Diapason
€ 9,99

Kwartetten - Verschenen op 3 november 2017 | Stradivarius

Onderscheidingen 5 de Diapason
€ 10,49
€ 6,99

Concerten voor blaasinstrumenten - Verschenen op 24 oktober 2017 | Indésens

Hi-Res Booklet Onderscheidingen Choc de Classica
€ 11,99
€ 7,99

Kamermuziek - Verschenen op 27 oktober 2017 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
€ 14,99
€ 9,99

Klassiek - Verschenen op 27 oktober 2017 | HORTUS

Hi-Res Booklet Onderscheidingen 5 de Diapason
€ 23,49
€ 16,49

Symfonische muziek - Verschenen op 27 oktober 2017 | ECM New Series

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
Don't be fooled by the album cover: the music recorded here is NOT Maderna, but Frescobaldi, Gabrieli and a few other composers from the same era, only orchestrated by Maderna. Among these late Renaissance and baroque works, as re-written, can be found, as a kind of pillar whose meaning in the album rather defies comprehension, the Sequenza XII by Berio which was initially conceived for a guitar solo and transcribed by the composer for guitar and chamber orchestra under the name of Chemins V. The whole work is about orchestrations, re-editions, translations from other eras. When it comes to Maderna and other old composers, the interest is neither musicological nor historical, as the orchestrations were done in the 20th Century, with 20th-Century orchestral techniques. Maderna's work, dating from the 1950s to the 1970s, bears witness to the widespread interest in masters from the past, with new editions, exhumations, rediscoveries; and Monteverdi was played without overmuch concern for period instruments - even if Hindemith, for example, tried to perform L’Orfeo with what old instruments he was able to gather... Seen from this point of view, the Maderna orchestrations are almost recompositions, although without ever betraying or travestying the manuscript, as Stravinsky did with Pergolese: it sticks, for example, to a "baroque" orchestra from our times, without instruments which did not exist at the time. A truly interesting recording. © SM/Qobuz
€ 9,99

Kamermuziek - Verschenen op 6 oktober 2017 | Kairos

Booklet Onderscheidingen 5 de Diapason
€ 11,99

Symfonische muziek - Verschenen op 29 september 2017 | Wergo

Booklet Onderscheidingen 5 de Diapason
Dialogue with Haydn is a characteristic stage along the way to the “composed interpretation” (Hans Zender’s most famous such work being Schuberts Winterreise) created in 1982 on Haydn’s 250th birthday, and was first performed at the Donaueschinger Music Days that same year. The object of musical changes taken from the G-major Symphony No. 94 “Surprise”. This theme, as simple as a nursery rhyme, is handled much more subtly than the usual variation style, by putting it into play for three differently tuned orchestra groups, each differing from the other by 11 cent (about one-tenth of the half-tone, or half a “comma”), a fundamental value in the complicated theme of the “tempered tuning”. The Haydn theme whose “fundamental elements appear interchanged, distorted, mixed up, superimposed, partly destroyed or beyond recognition” (Zender) enters this complex and fragile sound space. Tonalities, styles, epochs and emotions are layered, cross-faded and sent into surreal developments. As for Zender’s “Japanese” pieces, there are four compositions with “kyō” (singing, song) in their title, two of which are recorded here, Issei no kyō (2009) and Nanzen no kyō (1992). The listener should in no way expect any postcard-like mock-Japanese musical content, as Zender merely takes the original Zen Japanese poetry – in Issei, they are sung in German, then Japanese, then French, then English – to weave his very own style of music. Highly original contemporary music it is, and should be revered as such. © SM/Qobuz
€ 14,99
€ 9,99

Trio´s - Verschenen op 1 september 2017 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
There is a world of difference between Hindemith’s First Trio, composed in 1924 “on a train” as the composer stated in his own catalogue, and his 1933 Second Trio. While the first features some of these relentless, almost Prokofievian, rhythmic and thematic elements, the second rolls out its extremely sophisticated contrapuntal language along a soft lyrical canvas (with a touch of humour here and there) specific to later Hindemith. There is also a world of difference between Hindemith’s Trios and Schoenberg’s, written in 1946, soon after the composer almost died from a heart attack. Granted, the thematic structure is based on a dodecaphonic series, but after a brief adjustment period, it becomes impossible not to notice countless tiny tonal, harmonic waves skilfully hidden below the overall texture. The composer was quoted saying this particular work was “a description of his illness”, most probably with a fair share of dark humour. Thomas Mann claimed that Schoenberg told him he had secretly represented his medical treatment, the nurse and everything else in his music. Hanns Eisler, for his part, thought he had discovered which chords represented the injections… Ouch! Typically Schoenberg. Trio Zimmermann is made up of three great international soloists: violinist Frank Peter Zimmermann, violist Antoine Tamestit and cellist Christian Poltéra. And all three play on Stradivariuses, no less! © SM/Qobuz
€ 17,99
€ 13,49

Klassiek - Verschenen op 1 september 2017 | Winter & Winter

Hi-Res Booklet Onderscheidingen Diapason d'or - Uitzonderlijke Geluidsopnamen
Danish composer Hans Abrahamsen's four quartets are presented here by the famous Arditti String Quartet, in reverse order of composition: the  Fourth (2012), the Third, (2008), the Second (1981) - you may have noticed the huge gap, which will make more sense once you know that between 1990 and 2000 he put down his pen and stopped composing altogether - and then the First (1973), which was written as "Ten Preludes". From his earliest days as a composer, Abrahamsen has shunned the avant-garde doctrines of the "Darmstadt School", preferring to learn from his teacher Ligeti, in a language he took to calling the "New Simplicity". When listening to these four works, one is indeed struck by Abrahamsen's ability to create recognisable lines, at once modern and very old, sometimes bearing the traces (real or imagined) of folk airs, with a clear love for the most keening moments; and putting harmonics to mind-blowing use. The listener will realised that they are in the presence of a highly original piece of music, modern for sure: but it doesn't require a forced intellectual effort – rather, it demands that the listener abandon themselves to the rich and captivating discourse of the four musicians of the Arditti Quartet. © SM/Qobuz
€ 7,99

Kwartetten - Verschenen op 25 augustus 2017 | Stradivarius

Onderscheidingen 5 de Diapason
€ 8,09

Kamermuziek - Verschenen op 1 september 2017 | Brilliant Classics

Booklet Onderscheidingen 4 étoiles de Classica
€ 11,99

Piano solo - Verschenen op 25 augustus 2017 | Wergo

Booklet Onderscheidingen 5 de Diapason
€ 14,99
€ 9,99

Religieuze vocale muziek - Verschenen op 18 augustus 2017 | Seattle Symphony Media

Hi-Res Booklet Onderscheidingen 5 de Diapason
Written in 1936 for his young wife Claire Delbos, Poèmes pour Mi (“Mi” being the nickname the composer gave her) is a kind of wedding gift, nine melodies for soprano and orchestra all directly or indirectly inspired by the Dauphiné landscapes Messiaen had fallen in love with. Even though he wasn’t yet 30, the composer had already found his style, which in its harmonic and rhythmic structure would scarcely change. In some of his poems you can even detect the accents he would go on to use 40 years later in Saint François d’Assise. It goes to show that good music remains good music and recycling − conscious or not − isn’t exclusive to composers of previous centuries! Here Jane Archibald, almost without a hint of accent, sings these small gems with great emotion. Trois petites liturgies de la présence divine, written in 1944 when he was liberated from a prisoner-of-war camp, was initially designed for a women’s choir, piano, ondes Martenot and string orchestra. The Seattle Orchestra and Ludovic Morlot decided to entrust the chorus part to a children’s choir, giving it a “purer” and more angelic sound – a charming idea. Upon creating his work in 1945 Messiaen could boast about a particularly prestigious panel of auditors: Arthur Honegger, Georges Auric, Francis Poulenc, Henri Sauguet, Alexis Roland-Manuel, André Jolivet, Claude Delvincourt, Lazare Lévy, Jean-Yves Daniel-Lesur, Jean Wiener, Georges Braque, Paul Éluard, Pierre Henry and even Pierre Boulez (not yet famous but probably already predisposed to being spiteful). His success was as dazzling as immediate and lasting. It has everything that makes up Messiaen, including a rather virtuous piano part (played by Yvonne Loriod upon the work’s creation), little birds, Jesus Christ as well as his ever so specific chords, both brilliant and iridescent. © SM/Qobuz