Albums

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Klassiek - Verschenen op 5 augustus 2011 | Warner Classics

Booklet Onderscheidingen Diapason d'or - 4F de Télérama
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Klassiek - Verschenen op 1 maart 2019 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice
Ernest Chausson is a most unusual figure in French music, positioned at the crossroads where the romanticism of Berlioz and Franck meet the language of Wagner and the symbolism of the young Debussy. His Poème de l’amour et de la mer is a unique score for the period and certainly his greatest work; simultaneously a profane, naturistic cantata, a monologue, and a song cycle, it was composed between 1882 and 1892. Véronique Gens is recording this cycle for the first time, although she has already issued Le temps des lilas with Susan Manoff at the piano ("Néère"), about which Ernst Van Bek wrote in Classiquenews: « it mesmerises with the nuancing of its colours, the allusive precision of every sung word ». Véronique Gens’ talent is equally on display in this recording too, with the Orchestre National de Lille – an orchestra she already knows well – under Alexandre Bloch, its new chief conductor, whose appointment and first concerts and recordings have already caused a sensation… The Symphony in B-flat major completes this programme: a summit of French symphonic writing, for some a milestone as important as the Symphony in D of Chausson’s teacher César Franck! © Outhere Music
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Piano solo - Verschenen op 1 februari 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Klassiek - Verschenen op 18 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama
A new aesthetic calls for new forms: such is the challenge the composer set for himself in the two works presented here. In Les Nuits d’été, Berlioz pioneered, well before Mahler and Ravel, a song cycle for voice and orchestra. In Harold in Italy, scored for large orchestra and solo viola, he experimented with the symphonic genre. These period-instrument performances by Les Siècles, led by François-Xavier Roth, with violist Tabea Zimmermann, also feature Stéphane Degout in the vocal cycle, heard here in the composer’s own version for baritone. File under: out of the ordinary. © harmonia mundi
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Klassiek - Verschenen op 19 oktober 2018 | Glossa

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice
One of the great composing figures from the French Baroque, Michel-Richard de Lalande is starting to receive his just dues through modern recordings, and Glossa is happy to unveil a new release featuring Olivier Schneebeli directing Les Pages et Les Chantres du Centre de Musique Baroque de Versailles in three of Lalande’s sumptuous “grands motets”. Very much a favoured composer during the reign of Louis XIV, Lalande progressively assumed – from the 1680s onwards – more and more of the principal court offices, and was called upon to provide sacred music for the Chapelle Royale within the Château de Versailles. Although the new (and ‘definitive’) chapel was not consecrated until 1710, the trio of “grands motets” (extended multi-movement choral and solo settings, typically of Psalms, with instrumental accompaniment) recorded here will have been conceived of according to the chapel’s architectural and acoustical characteristics. Thomas Leconte, from the CMBV, provides an illuminating historical backdrop in his booklet essay. Much detailed performing information from Lalande’s time is known today – including number of instrumental forces used and about the composer’s later revisions of his scores – and Venite, exultemus Domino, De profundis and Dominus regnavit all receive expressive and meticulously-prepared performances within the Chapelle Royale itself. To the quality of preparation of the CMBV “maîtrise” can be added the presence of a quartet of vocal soloists deeply experienced in the style of music from this time: Chantal Santon-Jeffery, Reinoud Van Mechelen, François Joron and Lisandro Abadie. Likewise, the contribution of Jana Semerádová’s Collegium Marianum provides exemplary instrumental support to Schneebeli’s direction in this new CMBV production. © Glossa
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Klassiek - Verschenen op 14 september 2018 | La Dolce Volta

Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Grand Prix de l'Académie Charles Cros - Choc de Classica
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Klassiek - Verschenen op 7 september 2018 | Claves Records

Booklet Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 24 augustus 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
In what sense Hayden's two concertos for cello – at least, the two that we know of as his, although he surely wrote more – are the fruit of a "Transfigured Night" is not clear, and isn't made more so by reading the booklet, although it is very interesting, historically speaking. But on the other hand, of course, Schönberg's Transfigured Night, still a classic of his tonal and post-Wagnerian works, clearly justifies the title. Hayden's concertos are played by the magnificent American cellist Alisa Weilerstein, herself a "privileged partner" of Trondheim Soloists who accompany her here (without a conductor) and give us Schönberg's version for string orchestra. Given that Trondheim is slap bang in the middle of Norway, we can well imagine how the night and the twilight – which lasts most of the day for several months every year – must be full of images of transfigurations to inspire our musicians! And let's recall briefly how this ensemble, founded in 1988, recorded the Four Seasons with Anne-Sophie Mutter in 1999, a veritable stepping stone to international fame. © SM/Qobuz
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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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Concerten voor cello - Verschenen op 16 maart 2018 | Claves Records

Hi-Res Onderscheidingen 5 de Diapason - 4F de Télérama
French cellist Astrig Siranossian, a graduate of the Lyon CNSM and then of the prestigious Basel Hochschule went on to win First Prize and special prizes in the Krzysztof Penderecki competition: so it should come as no surprise that for this first solo album she has chosen a programme that brings together both the Second Concerto by Penderecki, written in 1982 and dedicated to Rostropovitch, and Khatchatourian's Concerto – Khatchatourian was Armenian, and it will not have escaped readers' notice that Siranossian is also an Armenian name. The young soloist is proving much sought-after: most notably, she has been invited to spend the next season with Daniel Barenboim at the new Pierre Boulez Hall in Berlin under the direction of Zubin Mehta, Simon Rattle and Antonio Pappano. Her musical partners include Yo-Yo Ma, Daniel Barenboim, Sol Gabetta, Bertrand Chamayou and Daniel Ottensamer, and she has graced stages as diverse as the Paris Philharmonic, the Vienna Musikverein the Salle Flagey in Brussels, the Buenos Aires Teatro Cólon the Kennedy Center in Washington… Note also that since 2015, she has been the artist in residence at the Queen Elizabeth Music Chapel in Belgium. This is a most promising musician whose career is one to watch closely. © SM/Qobuz
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Klassiek - Verschenen op 9 maart 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice
The Tenebræ responsories come from an immense collection of polyphonic music for Holy Week, the Officium Hebdomadæ Sanctæ, published by Victoria in 1585, which brings together several pieces written during the twenty years he spent in Rome. The responsories, brought together here, form part of a much longer Tenebræ, which essentially combined the monastic Hours of matins and lauds, for each of the final three days of the Holy Week. One of the characteristic traits of this service consists in the progressive extinguishing of fifteen votive candles until the church is finally plunged into the darkness from which the ceremony draws its name. The responsory is one part of a much broader liturgy, which was for the most part sung in plainsong. The musical richness of Victoria's polyphonic compositions made a striking contrast to this liturgy. Such an effect is harder to effect in concert, or even on a recording, where we are outside the liturgical context: here, we have uninterrupted polyphony. While the music is very varied, the uninterrupted use of the same mode and the same textures in three or four pieces throughout these 18 Responsories could, at times, give the impression that one is listening to a single piece. To counteract that impression, here and there the Stile Antico vocal ensemble has introduced extracts from readings of the Lamentations, sung in plainsong at the end of each Responsory. And so the contrast is restored. The programme closes with the luminous and oh-so-soothing six-voice motet for Holy Week O Domine Jesu Christi, again published in Rome in 1576. © SM/Qobuz
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Klassiek - Verschenen op 2 februari 2018 | Ilona Records

Hi-Res Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 8 december 2017 | naïve classique

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 27 oktober 2017 | B Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
This is with a touching document that begins this album devoted, for the most part, to Apollinaire’s poems put into music by Poulenc: the poet reading his own “Le Pont Mirabeau” during a reception at the Théâtre de l’Athénée in 1911. This is in this very theater that the baritone Stéphane Degout, accompanied at the piano by Cédric Tiberghien—also joined by flutist Matteo Cesari and cellist Alexis Descharmes on Ravel’s Chansons madécasses—delivers a nice handful of cycles of Poulenc’s melodies, that is to say Le Bestiaire, Calligrammes, Banalités and Quatre poèmes, the top of the composer’s art in this domain. The album concludes with Ravel and his Histoires naturelles. Degout and Tiberghien of course know of the recordings made by Poulenc himself at the piano with Pierre Bernac, but they soon realized that the notes of the composer on his own partitions—that are often of a meticulous precision—don’t really reflect what he himself took the liberty to do; hence their very free interpretation, a true reappropriation of the partition, which brings a whole new reading to the work. © SM/Qobuz
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Klassiek - Verschenen op 6 oktober 2017 | Pavane Records

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Piano solo - Verschenen op 8 september 2017 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
This album from the pianist Luis Fernando Pérez (a student of Dimitri Bashkirov, Alicia de Larrocha and Pierre-Laurent Aimard) includes the entirety of the Cançons i Danses, or at least the ones intended for piano. Mompou composed fifteen of them, of which the thirteenth is for guitar and the fifteenth is for organ. The composition dates of these works range from 1921 to 1961 for the first twelve, while the fourteenth dates from 1978, created at the Lincoln Center in New York for the composer’s 85th birthday. Scènes d ́enfants, one of the jewels from his catalog, and one of his most renowned works, was created between 1915 and 1918, in other words at the start of his creative years. Although “Iberianising”, if you forgive our use of this term, Mompou didn’t like to be referred to as a nationalist composer, preferring the term regionalist. “Not really knowing the true style of my music,” he said, “I’ve been classified as an exclusively folkloric composer, against which I had to express my disapprobation many times. My only arrogance is to believe that I managed to create an ethnic sounding music, without falling into the trap and excess of popular themes.” Luis Fernando Pérez is a regular of prestigious festivals such as Schleswig-Holstein, La Roque d'Anthéron, Richter in La Grange de Meslay, Jacobins in Toulouse, Santander and Granada, the Musical Fortnight in Donosti and Musika-Musica of Bilbao. He has been a soloist for the Symphony Orchestra of Barcelona and National of Catalonia, Real Filharmonía of Galicia, Symphony of Bilbao, Symphony of the Principality of Asturias, Orchestral Ensemble of Paris and Kanazawa, Symphony Warsaw, Symphony of Euskadi, the RTVE Symphony, the Franz Liszt Chamber Orchestra of Budapest and the Mannheim Chamber Orchestra, and also the National Orchestra of Spain.
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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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Piano solo - Verschenen op 14 april 2017 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 4 étoiles de Classica
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Piano solo - Verschenen op 7 april 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - 4F de Télérama - Gramophone Award - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 7 april 2017 | ARTALINNA

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 4 étoiles de Classica

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