Categories :

Albums

HI-RES€ 22,49
CD€ 14,99

Kamermuziek - Verschenen op 29 september 2017 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 16 oktober 2015 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
This is the third instalment in François-Frédéric Guy’s traversal of Beethoven and the first to delve into the chamber music. He is well matched in intellect, musicianship and temperament by cellist Xavier Phillips as they journey from the ridiculous (the Variations on ‘See the Conqu’ring Hero Comes’, in which Guy dispatches the virtuoso piano part with complete aplomb, to delectable effect) to the sublime (the Op 102 Sonatas). The two sets of variations on themes from Mozart’s Magic Flute are a very different proposition from the ‘Conqu’ring Hero’ but just as persuasive, with the Op 66 set given a particularly sparkling reading. Competition is of course thick on the ground, not least from Isserlis and Levin (playing a tremendously characterful McNulty fortepiano), which was an obvious choice for Record of the Month in February 2014. But Phillips and Guy deserve that accolade just as richly and their utterly different sound world is equally riveting.
HI-RES€ 15,99
CD€ 11,49

Klassiek - Verschenen op 22 maart 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 11 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason
Daniil Trifonov's journey around the world of Rachmaninov is at an end. The pianist has arrived safely into the harbour with Yannick Nézet-Seguin's Philadelphia Orchestra. This finale was inspired by the bells which are ubiquitous in the Great Russian soundscape. Alain Corbin explained their importance to the rhythmic and symbolic scansion of everyday life in 19th Century France in his book Village Bells. To the historian's analysis, we can now add the testimony of the pianist – who, like Rachmaninov, grew up in Novgorod. Russian bells leant Russian music its nobility and colouring of folk nostalgia. Daniil Trifonov hasn't forgotten this, as is clear from his piano transcription of the first episode of Les Cloches. He was wise enough to respect the operatic power of the score and the splendour of its orchestration: harp, celesta and flutes are all truly transformed into bells in the hands of a musician who stays true to the aura of disquieting oddness (with its shades of Edgar Allen Poe) which surrounds the first movement. His technique matches his capricious and bubbling imagination. While we might find ourselves yawning a little at the Vocalise, the first and third Concertos move us from thrilling ecstasies to tears of pleasure. A very fine record, in which the orchestra, perhaps a little distant, fulfils its role as a soundbox for the soloist. © Elsa Siffert/Qobuz
HI-RES€ 89,49
CD€ 77,49

Klassiek - Verschenen op 13 september 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 Sterne Fono Forum Klassik
HI-RES€ 28,99
CD€ 20,99

Piano solo - Verschenen op 12 april 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
For a truly great interpretation it’s not enough just to play a historical instrument, the playing also has to be up to scratch. This recording released by the world-renowned label ECM showcases a pianist of the highest calibre playing the wonderful Viennese Brodmann piano. András Schiff captures the convergence of thought and sound remarkably well and seldom before have we been given so much insight into Schubert’s innermost thoughts. The softness and the unmistakable legato that the pianist produces on this Viennese instrument give the Sonatas D. 958 and D. 959 an indescribable feeling of nostalgia. But Schubert’s inward revolt was growing and András Schiff leads us steadily to the edge of the abyss. The crystalline sounds of the Scherzo in the Sonata D. 959 are as enchanting as the sound of ancient harpists who were so often depicted by German Romantics. This exploration into sound is also marvellous in the Impromptus D. 899 and the 3 Klavierstücke D. 946 or “Three Piano Pieces”, which have a very expressive counterpoint that differ from the unfathomable depth of the sonatas. This album is a revelation into a whole new world of sound that is unveiled as András Schiff’s fingers touch the keys. Inspiring. © François Hudry/Qobuz
HI-RES€ 25,19
CD€ 17,99

Concerten voor viool - Verschenen op 15 maart 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, here is the next instalment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43. This fascinating achievement is a timely reminder that the master of The Well-Tempered Clavier was also a virtuoso violinist! © harmonia mundi
HI-RES€ 13,49
CD€ 8,99

Operafragmenten - Verschenen op 31 mei 2019 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
When it comes to prosperity, Vivaldi got pretty lucky. Thanks to a succession of happy accidents, his personal collection of manuscripts has survived through the centuries, allowing his music to be preserved, then later played and recorded. The contralto Delphine Galou and Ottavio Dantone, the director of the Accademia Bizantina, drew from this priceless batch of nearly 450 compositions to develop the program for this album of sacred music pieces dedicated to the alto voice.This new recording of the Vivaldi Edition, begun by NAÏVE many years ago, offers cantatas and arias for viola, functioning as perfect companions for the album of works sung by the same Delphine Galou. The lyrics, often by unknown authors, do not have a strong literary interest. Here, we find a pastoral world populated by shepherds in need of love as well as cruel and fickle nymphs, obeying the cannon of the time.Vivaldi takes advantage of these stereotypical characters to vary his expressive palette in a very subtle way and introduce the operatic style into works primarily intended for living rooms. The exceptional quality of his music generally transcends the commissioned work he is obliged to do, both in Mantua and Venice. These cantatas are accompanied here by some arias from his many operas. They allow Delphine Galou to fully express the variety and range of her singing through the pathetism of Liquore ingrato (Tito Manlio), the sweetness of "Andrò fida e sconsolata" of the same opera or the innocent grace of a childish song in the aria "È pure dolce ad un'anima amante" (Il Giustino). © François Hudry/Qobuz
HI-RES€ 15,99
CD€ 13,49

Klassiek - Verschenen op 15 november 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
One never comes across any ordinariness when following Alexandre Tharaud’s career. This new album is as impressive in the originality of its conception as much as its meticulous musical delivery. The French pianist appears to be nostalgic towards two different golden ages: that of 17th-century music, and that of the French piano during the 1950s, specifically Marcelle Meyer’s inspiring playing which Tharaud remains motivated by. The “Versailles” which has attracted Alexandre Tharaud, and serves as the title for this recital is less Louis XIV’s opulent world of wonder and more of an intimate world of secret music. Without any difficulty, the pianist manages to make these pieces specifically written for the harpsichord his own, even going as far as inviting young harpsichordist Justin Taylor to join him for a rendition of Rameau’s Les Sauvages... for four hands on the piano! If the pianist Marcelle Meyer had recorded Rameau and Couperin in an era more liberal than today, Alexandre Tharaud has the audacity to go against musicological rules for the listener’s benefit. Of course, we are accustomed to Bach, Scarlatti, Couperin and Rameau on the modern piano, but Pancrace Royer, Robert de Visée, Jean-Henry D’Anglebert and Jacques Duphly are suddenly thrust into the limelight of this musical collection which incidentally highlights their relevance. © François Hudry/Qobuz
HI-RES€ 17,49
CD€ 12,49

Symfonieën - Verschenen op 25 oktober 2019 | harmonia mundi

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

Concerten voor viool - Verschenen op 28 september 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
Fabio Biondi had his work cut out for him with the complete recordings of Vivaldi's violin concertos, as the Venetian left behind more than 250 works for one, two, three or four violins. Volume VI here offers a group of six concertos written in Prague and Bohemia in the course of his stay there between 1730 and 1731.Today, musicology has become much more of a science, and it is possible to put a date on these manuscripts by means of a precise analysis of the paper used by the composer if the music doesn't speak for itself. The Antonio Vivaldi of these pieces retains the style for which he is known and loved across Europe. Fabio Biondi notes that as there are only a few hints of Bohemian music in these concertos, which are more resemblant of Vivaldi's younger work. We might conclude that while abroad, the composer was writing pieces which, while new, were destined for use by his beloved students in the Pietà.Venetian chroniclers from the time often wrote of Vivaldi's virtuoso violin playing, admiring the inventiveness that he brought to the cadenzas of his concertos (the section at the end of a movement which is left open for creative improvisation) and the fantasy that he worked into his improvisations. While we have no proof that Vivaldi was the soloist for his own works during his Bohemian trip, Fabio Biondi, a true connoisseur of Vivaldi's style, clearly aims to apply this spirit to his recordings, and nowhere more so than here. © François Hudry/Qobuz
HI-RES€ 4,50€ 8,99(50%)
CD€ 3,50€ 6,99(50%)

Concerten voor viool - Verschenen op 10 mei 2019 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
Brahms’ string concertos are indissolubly linked with the musicians for whom the works were written. He wrote his Violin Concerto for Joseph Joachim, and in it he combined what a contemporary critic termed ‘the great and serious’ with songful lyricism, melodic beauty, and a fiery Hungarian finale. To mend a breach with the violinist, Brahms later composed a concerto with the unusual combination of violin and cello, the latter played at the premiere by Joachim’s colleague Robert Hausmann. Neither instrument predominates in a work of reconciliation that embodies both drama and reflection. © Naxos
HI-RES€ 31,49
CD€ 20,99

Duo´s - Verschenen op 15 november 2019 | Alpha

Hi-Res Onderscheidingen 5 de Diapason - Qobuzism
The final part of this intelligent and well-rounded triptych certainly deserves a Qobuzissime! It has been several years since we have been following this grandiose but relaxed duo, made up of violinist Lorenzo Gatto and pianist Julien Libeer. The Belgian pair have brought their complete collection of Beethoven’s sonatas for violin and piano to a close. There is a lot of spontaneity in this integral work, yet this freshness is not synonymous with offhandedness. On the contrary, the fruit of a well thought-out project, it unfolds as a thrilling story in three parts.The first volume opened like a stage curtain on this landmark of Beethoven with the iconic Kreutzer sonata, a strong score which trumps the expectations of the genre. The vehement drama of the first movement, slow and in a minor key, contrasts with the gentle nature of the second movement and confirms that the sonata is well and truly a format for two instruments on an equal footing and not just a support act to the piano, a Steinway in this instance.The second one delineated the milestones of an expanding genre. From the first to the last sonata, via the most popular nicknamed Spring, we bear witness to a general amplification of style. From Opus 12 to Opus 96, the form expands, the technical difficulty of playing increases and the light-hearted fun gives way to a more energetic rhetoric. For this second album, the duo chose the lustrous power of Chris Maene’s parallel-stringed piano. The instrument affords the necessary resonance to the interpretation of this sometimes outright zesty, sometimes tenderly subtle score.The third volume frames the Steinway’s radiance (Sonatas 6 and 7) with the more ample Maene piano (Sonatas 3 and 8) and is dedicated to the works conceived when the composer’s hearing began to falter. Paradoxically, this nightmare for Beethoven has brought about a gift for his listeners. Varied combinations of timbres, styles and character are constantly renewed in this cycle which Gatto and Libeer faithfully interpret throughout its entirety. Our award of recognition is also a retrospective on the first two milestones of this adventure which has valiantly held its promise. An important integral work to explore and encourage others to do so as well! © Elsa Siffert/Qobuz
HI-RES€ 14,99
CD€ 9,99

Concerten voor cello - Verschenen op 4 oktober 2019 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
Christophe Coin continues his complete collection of the Vivaldi cello concertos. There are some  pieces on this new album which show the cello to be more of an ensemble instrument than a solo one. Working from the premise that the cello’s vocal-like tone was Vivaldi’s favourite thing about the instrument, Christophe Coin’s rendition puts this voice at the forefront of this score. Using a smaller, five-stringed cello which he plays upright on a small wooden table to increase its volume and resonance, as seen in some paintings, the cellist underlines how attentive Vivaldi was to vary his simple and repetitive lyricism using simple techniques that still manage to move both the artist and the audience: “A taught dissonance, a well-placed ornament, a well-chosen interval, just quick moments, he emphasises, bring excitement to the routine of our lives.” The Onda Armonica play in a rich continuo with three instruments used either simultaneously or alternately: the organ, the harpsichord and the theorbo, as well as a mandolin (an instrument Vivaldi also engaged with a lot) to liven up the Concerto in C major, RV 400. © François Hudry/Qobuz
HI-RES€ 18,99
CD€ 15,99

Piano solo - Verschenen op 23 augustus 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
We asked for this as much as we cautiously anticipated its arrival… Anxious to ensure the return of the pianist, Sony Classical – goodbye Deutsch Grammophon – rolled out the red carpet for Ivo Pogorelich. Recorded in Schloss Elmau and the Raiding Concert Hall (Beethoven in the former and Rachmaninoff in the latter) this new album delivers a wide sound of measured reverberation and embraces Pogorelich’s rough playing style as well as some of his more tender nuances. Like an iron hand in a velvet glove. Ivo Pogorelich is not playing around. For Rachmaninoff, he has chosen the second Sonata in B flat minor, op. 36 in its original, full-length version in which numerous sections disorientate the listener as they lose themselves on a hallucinogenic journey with the musician. Pogorelich progressively eases us in and wins us over by beginning with two, rarely recorded but known, Beethoven works: his sonatas no.22 in F major, op.54 and no.24 en F sharp major, op.78. The chosen listing is intelligent (with two major figures), ambitious (with its demanding score), and generous (for reasons mentioned above). It would seem we’re in familiar territory, yet nothing is less certain when Pogorelich seems to literally grab the scores by their reigns and breathe into them a sense of puissant heroism. Nevertheless, Pogorelich remains an expressive musician, scrutinising the texts with as much malice as severity despite some slower tempos. It’s as if the listing is backlit by his own personal vision for the works. © Elsa Siffert/Qobuz
HI-RES€ 20,49
CD€ 17,49

Wereldlijke vocale muziek - Verschenen op 15 november 2019 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Christina Pluhar has long been interested in the vocal music of the 17th century, in particular that of composer Luigi Rossi born around 1597 in the beautiful province of Puglia. He was the titular composer to the Medicis in Florence before taking a job with Cardinal Barberini in Rome. In France, Cardinal Mazarin commissioned him to produce the first Italian opera written specifically for the French court. In a manner of speaking, Rossi is at the root of the productions that another Italian, Lully, would later write for Louis XIV.In 2005, Christina Pluhar had recorded the Lyra d'Orfeo, taken from Rossi's desk drawer, with her ensemble L'Arpeggiata, with the voice of Veronique Gens in all its splendour. But a legal problem arose which prevented its production as a record for nearly 15 years. With the lawsuit ongoing, Christina Pluhar completed her project with Arpa Davidica, a new original compilation of works by Luigi Rossi, which she and her assistants discovered in various libraries.Pluhar has selected a series of virtuoso, theatrical pieces geared closely to the lyrics, as Rossi would set to music the most beautiful poems of his day. Taking on the best voices of the moment, Cécile Scheen, Giuseppina Bridelli, Philippe Jaroussky, Jakub Józef Orliński and Valer Sabadus, Christina Pluhar has pulled out all the stops to bring enchanting and incredibly musically-rich material back to life. The few indications relating to the instrumental accompaniment left on the manuscripts leave the performers almost total freedom. They can imagine all sorts of instrumental combinations to link complicated melismas with the virtuosity of the vocal lines that the composer intended. The interpretation also works as a complete recreation. © François Hudry/Qobuz
HI-RES€ 17,49
CD€ 12,49

Duo´s - Verschenen op 7 februari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Using period instruments, Isabelle Faust and Alexander Melnikov breathe new life into these ‘sonatas for keyboard with violin accompaniment’, a tradition Mozart renewed from within, blazing the trail for Beethoven, Schubert and Schumann. The first volume was widely praised: ‘The greater similarity of tone between Faust’s sparkling violin and Melnikov’s glittering fortepiano (within an airier acoustic) results in a sound more akin to the jingling of small bells. It’s delicious’ (Gramophone). ‘In a world full of star violinists, all with technical facility and individual style, it’s rare to find one that everyone agrees is just – brilliant. Isabelle Faust is that violinist’ (The Strad). © harmonia mundi
HI-RES€ 17,49
CD€ 12,49

Kamermuziek - Verschenen op 5 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 24 februari 2017 | Evidence

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
HI-RES€ 16,49
CD€ 10,99

Symfonische muziek - Verschenen op 17 januari 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason

Genre

Klassiek in het magazine