Albums

1691 albums gesorteerd op Date: from newest to oldest
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Kwartetten - Verschenen op 12 april 2019 | Channel Classics Records

Hi-Res Booklet
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€ 9,99

Missen, passies, requiems - Verschenen op 5 april 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Qobuzism
This spectacular new release of Maurice Duruflé’s complete choral output uncovers hidden gems of French classical music. Infused with modal harmonies and plainsong, Maurice Duruflé's choral works look back to Gregorian chant. The composer also found inspiration in the likes of Gabriel Fauré and Claude Debussy, incorporating definite lines and close harmonies into his music, and the result is astonishingly simple. His works were part of a whole stylistic movement in the 20th century (one that was far removed from neoclassicism) that tried to trace music back to its origins, separating itself from all the trappings of theatre and performance, and moving away from the highly abstract tendencies that characterised much of the music in the post-war period. Is Gregorian chant the “mother” of all music? Quite possibly. Duruflé aimed to create a serene, gentle mood all the while echoing a contemporary trend, one that was still emerging yet already rather developed, centred around harmony and floating atmospheres in the hope of bringing people together in communion. With little to show by way of recordings yet much by way of talent, the Houston Chamber Choir give a beautiful performance of the French composer's works. Their radiant singing is well worth discovering, made all the more breathtaking by the generous acoustics of the Edythe Bates Old Recital Hall at Rice University, which allow the conductor Robert Simpson to use broad phrasings. The conductor adds an especially touching quality to these naturally expressive works, making this recording – which is as moving as the composer's earlier recordings (Erato) - an ideal gateway into Duruflé’s hypnotic universe (Messe “Cum Jubilo”). It should be noted that despite his relatively long life, Duruflé’s composed only fourteen works. His final composition Notre Père (which lasts just ninety seconds!) was written especially for the Catholic Church though was never performed due to its sheer difficulty. This modest number of compositions reflects Duruflé’s crippling self-criticism and continuous search for perfection. This Houston Chamber Choir recording is a wonderful opportunity to rediscover one of the best kept secrets of the 20th century. © Qobuz
€ 9,99

Duo´s - Verschenen op 5 april 2019 | Pan Classics

Booklet Onderscheidingen 5 de Diapason
Enrico Onofri discovered Bartók’s pedagogical piece 44 Duets for two cellos while he was studying in Italy under Hungarian master violinist Sándor Végh. Onofri took his time to prepare his project and looked for the ideal partner. When he met Lina Tur Bonet, then, he knew he had found her. Both violinists come from a baroque background and they both love Bartók.   Bartók composed the piece in 1931 following the suggestion of a German professor who needed a cycle for two violins without accompaniment. The initial agreement called for the rearrangement of his “For Children” played on the piano. But Bartók’s inspiration led him to a more ambitious project. With his friend Zoltán Kodály at his side, he traveled to remote regions of Eastern Europe, where he collected music and popular songs.  Bartók created a network of modes that gives students the opportunity to have fun learning while focusing on progressive and irregular rhythmic parts, double strings, syncopation and percussive effects. The piece is a catalogue of changing atmospheres that seduces musicians far beyond their initial pedagogical aspect. Enrico Onofri and Lina Tur Bonet thought of the duos as a unique 45-minute cycle and exploration of Bartók’s world. They use highly reverberant acoustics and show their “historically informed” abilities to play precise articulations as well as each note’s dynamics. On this recording, they used strings from the early 1900’s mixing bare gut (A and B), metal-wound gut (G), and steel (E), a mixture which creates a pure and precise sound. © François Hudry/Qobuz
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Kwartetten - Verschenen op 15 maart 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or
€ 18,00
€ 11,99

Klassiek - Verschenen op 1 maart 2019 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
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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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€ 9,99

Kamermuziek - Verschenen op 22 februari 2019 | Warner Classics

Hi-Res Onderscheidingen 5 de Diapason
€ 16,49
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Liederen - Verschenen op 8 februari 2019 | Supraphon a.s.

Hi-Res Booklet Onderscheidingen Diapason d'or
€ 10,79

Klassiek - Verschenen op 3 april 2013 | Piano Classics

Booklet
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Religieuze vocale muziek - Verschenen op 25 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
€ 26,99
€ 17,99

Kwartetten - Verschenen op 18 januari 2019 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
Following on from its highly-acclaimed complete cycle of string quartets from the Viennese School, the Quatuor Diotima reaches new heights in its discography with a recording of some of the most significant works of the 20th century music: the six quartets of Béla Bartok, born out of the different artistic and political influences of the time. “These six quartets give us a genuine overview of the composer’s personal life, from his first disappointment in love to the heartbreaking farewell to his mother and his homeland. The evolution of his musical language is equally spectacular. Starting with a post-Romanticism imbued with folklore, still very present in the first two quartets, the Bartókian identity is fully asserted in the great works of his maturity that are the Third, Fourth and Fifth Quartets, and culminates in the highly individual form of the Sixth Quartet, one great song of despair and nostalgia. […] There is a before and an after Bartók in the quartet world. He renews, reinvents all the issues of the genre, the question of the relationship between the voices of the quartet governing the forms, the search for the ‘little difference’, the search for heterogeneity in so homogeneous a medium.” © Naive Classique
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Kamermuziek - Verschenen op 18 januari 2019 | Ars Produktion

Booklet Onderscheidingen 5 de Diapason
While only fourteen years separate the Zemlinsky and Korngold piano trios, written in 1896 and 1919 respectively, the contrast couldn't be more striking. Where Zemlinsky's work, which he wrote at the age of 22, still bears the influence of Brahms (putting it lightly), Korngold's work, written while the composer was 13, has its eyes fixed firmly on the future, or at least on the most coruscating parts of the present day: Strauss or Mahler, and even early Schönberg. The filiation between Zemlinsky and his disciple Korngold seems barely perceptible and the fourteen years between them seem like a huge gulf. These two fascinating works are presented by the Stefan Zweig Trio (founded 2012), an ensemble every bit as Viennese as the composers it showcases here. © SM/Qobuz
€ 10,99

Kamermuziek - Verschenen op 11 januari 2019 | Signature - Radio France

Onderscheidingen 5 de Diapason
Outstanding musicians in an exceptional programme, stamped with rhythmic energy from start to finish, featuring Florent Schmitt's Opus 68, Albert Roussel's Opus 28 et the Sonata for violin and piano of André Prévost (1934-2001).
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Symfonische muziek - Verschenen op 4 januari 2019 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or
It's hardly common to become a global star at the age of 96; and even less so to record Beethoven's nine symphonies at that age – especially if these recordings rejuvenate our whole approach to a corpus that seemed to have no secrets left. And as the most familiar landscape can suddenly take on a new appearance when viewed from a new angle, so can music. The Swede Herbert Blomstedt, son of a strict pastor and cut from the same cloth as his countryman Ingmar Bergman, is possessed of a freshness and physical appearance that belie his age: the greatest concession he has made has been to cut down from 100 concerts a year to 70, conducting the greatest orchestras in the world. After his recent refreshing reinterpretation of Beethoven and Mozart's last two symphonies, recorded in concert in 2017, we find him here dealing with the works of the great Swedish composer Wilhelm Stenhammar, recorded at concerts given in Gothenburg in 2013 and 2014. Bowled over by hearing his friend Sibelius's Second Symphony, Stenhammar tried to renew his own style, writing a "second symphony" of his own, and as soon as it was done, in May 1915, he wrote to the Finnish composer. Written for the Gothenburg Symphony Orchestra, which plays it in this recording, it is structured classically around four movements. The first is built on a folk music theme; the second is a kind of great nocturnal procession that precedes a Scherzo written as a stylised dance whose central Trio is played on wind instruments whose quality Stenhammar looked to underline. As for the Finale (which, how to put it, gave some critics a headache...), it is to this day one of the most masterful pages of symphonic music written in Sweden. First performed in 1914, the Serenade in F major, written after a trip to Florence, was quickly withdrawn by the composer, who made a new version in five movements which was performed in 1919 and enjoyed lasting success at home. Just like Mendelssohn's "Italian" Symphony, Tchaikovski’s Souvenir de Florence and Italian Capriccio , or indeed Strauss's Aus Italien the work highlights the magic attraction that Italy exercises on Northern composers. It is an illuminating and idealised description of a dreamy Arcadia, largely inspired by antiquity. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 4 januari 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 7 december 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
The originality of this recording (which presents works that are, in fact, rather common) comes from the orchestra Les Siècles playing on periodic instruments, in this case from the period in which Debussy wrote these masterpieces. This is particularly relevant for woodwinds and brass, whose mechanisms and sounds around 1900 were very different - more incisive perhaps, and undoubtedly more differentiated - which for music like Debussy's offers a real plus in the orchestral balance. Moreover, the number of strings remains reasonable, this way the woodwind is never swallowed up as it often is with large international orchestras. The listener will be able to hear this music as Debussy heard it, or at least how he would have liked to have heard it because in his time orchestras and conductors did not always have a clear understanding of his style or the infinite colours on his palette. © SM/Qobuz
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Piano solo - Verschenen op 30 november 2018 | Mirare

Hi-Res Booklet Onderscheidingen 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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Piano solo - Verschenen op 30 november 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
On the dawn of his fortieth birthday, the Spanish pianist Javier Perianes should be more than proud of his dazzling career. Among the places that regularly welcome him we find Carnegie Hall, the Berliner Philharmoniker, the Philharmonie de Paris, Gewandhaus in Leipzig and La Roque d'Anthéron. Barenboim and Larrocha were his masters. He is particularly fond of the great French repertoire of Debussy and Ravel, though he never focuses solely on them - his previous recordings have taken him to Beethoven, Mompou, Schubert or Granados. Here, he remains in the French world with Debussy's Book I from Preludes and his three Estampes, the composer’s piano masterpiece, which Perianes distils with immense instrumental colour, breathing, contrasts and a magnificent violence that counterbalances a crystal clearness at every moment, as requested by the score. © SM/Qobuz
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Kwartetten - Verschenen op 30 november 2018 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or
€ 10,99

Jazz - Verschenen op 30 november 2018 | Cam Jazz

Onderscheidingen Choc de Classica