Albums

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Concerten voor cello - Verschenen op 30 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - Le Choix de France Musique
Cellist Sol Gabetta and her almost-favourite pianist, Bertrand Chamayou, focus here on Schumann's all too rare repertoire for cello and piano. And once again, none of these pieces are intended a priori for cello, even though the original scores do propose the instrument as a possible alternative to the clarinet in Fantasy Pieces or the horn in Adagio and Allegro. It was only with Five Pieces in Folk Style that Schumann immediately thought of the cello! Here, Chamayou plays on a Viennese fortepiano by Streicher, dated from 1847 - three or four years after the composition of these three works. The Concerto for cello is accompanied by the Basel Chamber Orchestra, who also play on instruments from the romantic era, giving a more hushed yet incisive sound for the attacks. There’s more of an emphasis on the woodwind section as well, in contrast to the over-inflated string ensemble that so many modern orchestras offer up. © SM/Qobuz
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Klassiek - Verschenen op 30 november 2018 | Sony Classical

Hi-Res Onderscheidingen 4F de Télérama
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Piano solo - Verschenen op 5 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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€ 11,49

Piano solo - Verschenen op 14 september 2018 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
€ 23,49
€ 16,49

Piano solo - Verschenen op 31 augustus 2018 | ECM New Series

Hi-Res Booklet Onderscheidingen 4F de Télérama
Since the first composers started calling their works things like "nocturnes" or "serenades", there has been music designed specifically to evoke the dusk or the night. And then from the romantic period onward, the night began to become associated with worry, or even terror. Schumann's Phantasiestücke (1837) contain at least one nocturne movement in which the night is presented in a terroristic light (so to speak). In der Nacht, one of the great Schumannian moments, is concentrated into scarcely four minutes. Seventy years later, Ravel took the fear even further with Le Gibet, the central movement of Gaspard de la nuit – even more night – which tells of the gibbet where the hanged men twist gently to the sound of the night chimes; while Scarbo closes the triptych on the image of a nightmare dwarf. Finally, while Out of Doors by Bartók isn't necessarily all set at night, the fourth movement, The Night's Music, remains one of the most unsettling moments in all of piano literature. Born in Budapest in 1968, Dénes Várjon studied with György Kurtág and András Schiff. The winner of Liszt prizes as well as of Budapest's Géza Anda and Leo Weiner competitions, he has performed at the festivals of Salzburg, Lucerne, Davos and with the Vienna Chamber Orchestra, the Zürich Tonhalle, the Academy of St. Martin-in-the-Fields, and the Kremerata Baltica. © SM/Qobuz
€ 9,99

Piano solo - Verschenen op 4 mei 2018 | Challenge Classics

Onderscheidingen 5 de Diapason - 4F de Télérama
This is the third album for Challenge Classics from the excellent Israeli pianist Einav Yarden, who, having made the most of the world of Haydn, and before that Beethoven and Stravinsky, is now taking on the most complex figure in early German romanticism, Robert Schumann, by way of a repertoire that is in part fairly original (Drei Fantasiestücke Op. 111 to start) but also well-trodden (Fantasie Op. 17, Waldszenen) by his fellow musicians. The tough competition should not distract you, however, from this musician, who is still little known in these parts, a student of Leon Fleisher at the Peabody Conservatory, much beloved of Elisso Virsaladze, and who first trained in Israel. His performances of Schumann set themselves apart with their striving for structural clarity and ample phrasing, which sometimes presages Brahms, rather than a drive for lyricism or for sweetly febrile poetry. © Théodore Grantet/Qobuz The three works on this album span a period of fifteen years – years in which the young Schumann suffered forcible separation from his beloved Clara, followed by their marriage and a brief period of relative calm, to the increasing bouts of mental instability which were to close him off from the world around him until his death. The piano Fantasiestücke op. 111 was composed in 1851 during a time of deteriorating mental health and increasing disillusionment with his post as Music Director of the Düsseldorf Music Society. In contrast to the youthfully extrovert Fantasiestücke op. 12 of 1837, these three untitled pieces are “of a serious and passionate character”, as Clara described them, their bold harmonies intensifying their expressivity. The Fantasie in C major op. 17 is one of Schumann’s most powerful large-scale piano works, composed during the bitter period of his enforced separation from Clara. Schumann completed his cycle of nine forest piano miniatures, Waldszenen, in 1849, while struggling with increasing bouts of mental instability and depression. Each piece is headed by a descriptive title. These masterly tone paintings display Schumann’s genius in creating miniature images consummate in expression, characterisation and mood. © Challenge Classics
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Trio´s - Verschenen op 17 november 2017 | Myrios Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 5 Sterne Fono Forum Klassik
An unusual and yet particularly clever juxtaposition can be found on this album, which consists in mirroring Schumann’s 1853 Märchenerzählungen (Tales, implicitly for children) for viola, clarinet and piano – as well as, still in the realm of fairy tales, Fantasiestücke (Fantasy Pieces) for clarinet and piano and then Märchenbilder (Fairy Tale Pictures) for viola and piano – and Jörg Widmann’s Es war einmal... Fünf Stücke im Märchenton (Once Upon a Time – Five Pieces in a Fairy Tale Tone). While being a contemporary, even a modernist artist, Widmann was indeed largely inspired by Schumann’s Märchenerzählungen, his work sprinkling with reminiscences, allusions and barely disguised quotes, superimposed to today’s language – so much that, at some point, one could be led to believe both tracks were playing at the same time, Schumann’s and Widmann’s! Ever since the first great creators, the art of “recycling”, reusing and rewriting is one of the main driving forces behind artistic creation; in fact Widmann is only following this proven model. Tabea Zimmermann on viola, Dénes Várjon on piano and on clarinet, no other than the composer himself: Widmann of course, not Schumann who, as everyone knows, doesn’t play the clarinet. © SM/Qobuz
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Piano solo - Verschenen op 28 april 2017 | ARTALINNA

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 étoiles de Classica
For several years now, Hiroaki Takenouchi had been keen to champion the music of a major Romantic composer, William Sterndale Bennett – an English virtuoso pianist, born in 1816, and considered one of the most captivating virtuosos in his time because of his flamboyance and mastery of the keyboard. Here, Takenouchi chooses one of what are indisputably Sterndale Bennett’s most accomplished scores, the Piano Sonata in F minor Op. 13, dedicated to Felix Mendelssohn-Bartholdy: the work unveils a romantic ballad tone, which is both exciting and genuinely exhilarating, like the great scores of Mendelssohn or Schumann. To complete his programme Takenouchi offers one of the latter’s masterpieces for piano, Symphonic Etudes (1834) and dedicated… to William Sterndale Bennett. Indeed, Hiroaki Takenouchi’s new album released on the Artalinna label offers us interplay of reciprocal dedications to these three great names of European Romanticism – Mendelssohn, Schumann and Sterndale Bennett. His first volume of a double anthology dedicated to Haydn had been honoured by an ffff from the French magazine French magazine Télérama (highest award).
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Klassiek - Verschenen op 5 januari 2018 | Warner Classics

Booklet Onderscheidingen 4F de Télérama
EDITORIAL NOTES: This complete edition brings together all Debussy’s known works. The one work that is not currently available is the orchestral version of an Intermezzo composed in June 1882. However, it is possible to form an idea of how this might have sounded thanks to Debussy’s own transcription of the piece for piano duet (7/6)2. The following works can be heard here in premiere recordings: —the Chanson des brises (1882) for soprano solo, female chorus and piano four-hands (24/12), the complete manuscript of which has recently come to light; —the first version (1898) of the two Chansons de Charles d’Orléans (25/5-6); —Diane au bois (1885-87), a “comédie lyrique” for soprano, tenor and piano (26/1-4); —the beginning of La Chute de la maison Usher, as it was when Debussy set the work aside in 1916 (30/6-10);   To this group of works, we have added the piano reductions of Khamma (4/13-16) – whose orchestration was mainly the work of Koechlin – and of Jeux (4/17), both of which provided the basis on which the choreography of the two ballets was devised. Moreover, some of Debussy’s transcriptions from the 1890s have never been recorded until now: —À la fontaine, an arrangement for piano solo of Am Springbrunnen from Schumann’s Op.85 set of piano duets (2/20); —Humoresque en forme de valse, an arrangement for piano solo of Raff’s Humoreske in Walzerform, Op.159, for piano duet (6/9); —Saint-Saëns’ Symphony No.2 and Airs d’Étienne Marcel, arranged for two pianos, four hands (11/8-18);   In addition to the above, we have included several arrangements of Debussy’s works made by composers with whom he was on friendly terms. The complete edition contains all the transcriptions by André Caplet (for piano solo, two pianos and orchestrations), even those carried out after Debussy’s death. Caplet’s orchestrations of two of the Ariettes oubliées (22/1415) are recorded here for the first time. Most of Caplet’s transcriptions received Debussy’s seal of approval, and the composer conducted the orchestral version of Children’s Corner (18/12-17) on several occasions and took part in performances of the two-piano version of Ibéria (10/57). The same applies to the arrangements made by Henri Busser, Jean Roger-Ducasse, Désiré-Émile Inghelbrecht and Bernardino Molinari. Ravel’s transcriptions and orchestrations are testimony to his admiration for Debussy. Finally, it is worth noting that Debussy was on good terms with the violinist Arthur Hartmann and transcribed Minstrels (13/3), one of the piano Préludes, for his friend. The two men played the piece together at a concert on 5 February 1914, alongside two arrangements that Hartmann had made with the composer’s consent: another of the Préludes, La fille aux cheveux de lin (13/15), and the second of the Ariettes oubliées, Il pleure dans mon cœur (13/14). Finally, this set features the only known acoustic recording of Debussy, accompanying Mary Garden (33/15-18) and made in February 1904 for the French Gramophone Company, as well as piano rolls of fourteen pieces made using the Welte-Mignon system and probably recorded by the composer in November 1913 (33/1-14). Denis Herlin © 2017 Warner Classics
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Klassiek - Verschenen op 30 september 2016 | Warner Classics

Booklet Onderscheidingen 4F de Télérama
Here, on the very same album, are recordings made far apart in time by Martha Argerich and Itzhak Perlman: Schumann’s Sonata Op. 105. Live at a concert in Saratoga on 30th July 1998 represents the first meeting between the two giants of the music scene, whereas the rest of the programme was recorded as recently as March 2016. There is romanticism above all with Schumann and Brahms - of course, the only Scherzo movement is in the “F-A-E” Sonata, a work composed jointly between Schumann, Dietrich and Brahms, but movements are commonly played individually. Argerich and Perlman end with Bach’s Baroque romanticism with one of the sonatas for violin and keyboard, where Bach himself wrote out the keyboard part instead of leaving it as a continuo. Written thusly, the score is a duet among equals, and even more so when the equals in question are these two in particular. © SM/Qobuz
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Klassiek - Verschenen op 26 augustus 2016 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Klassiek - Verschenen op 19 augustus 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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€ 12,49

Concertmuziek - Verschenen op 22 maart 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles de Classica
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Symfonieën - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Hi-Res Audio
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Kwartetten - Verschenen op 20 oktober 2014 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Qobuzism
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Klassiek - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

Booklet Onderscheidingen 4F de Télérama
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€ 11,49

Klassiek - Verschenen op 23 september 2013 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 4 étoiles de Classica - Hi-Res Audio
€ 13,49

Klassiek - Verschenen op 22 november 2010 | Warner Classics

Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 17 september 2009 | Sony Classical

Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 4 september 2009 | Sony Classical

Onderscheidingen 4F de Télérama - De Muzikale Rariteiten

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