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Klassiek - Verschenen op 21 juni 2019 | Urania Records

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Klassiek - Verschenen op 7 juni 2019 | IBS Classical

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Klassiek - Verschenen op 15 mei 2019 | G.O.P.

Klassiek - Verschenen op 5 april 2019 | Quartz Music

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Klassiek - Verschenen op 26 januari 2019 | Everest

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Klassiek - Verschenen op 30 november 2018 | Duo Granato Music

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Kamermuziek - Verschenen op 26 oktober 2018 | Indésens

Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 26 oktober 2018 | SWR Classic Archive

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Klassiek - Verschenen op 26 oktober 2018 | Brilliant Classics

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Kamermuziek - Verschenen op 27 september 2018 | MSR Classics

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Klassiek - Verschenen op 30 juli 2018 | Little Cottage Records

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Kamermuziek - Verschenen op 15 juni 2018 | Oberlin Music

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Klassiek - Verschenen op 8 juni 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 25 mei 2018 | RTS Radio Télévision Suisse - Evasion Music

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Klassiek - Verschenen op 25 mei 2018 | RTS Radio Télévision Suisse - Evasion Music

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Klassiek - Verschenen op 25 mei 2018 | RTS Radio Télévision Suisse - Evasion Music

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Kamermuziek - Verschenen op 13 april 2018 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
It goes without saying (but let's say it anyway) that an album of the complete recordings of Hindemith's sonatas for solo viola doesn’t have massive mainstream appeal. And yet there is so much joy in this rigorous and yet free-spirited music, made in the image of a composer whose Addams Family appearance hid a puckish spirit, not to mention a love of model railways and good eating. The four sonatas on offer here are given in reverse chronological order of composition: 1937, 1923, 1922 and 1919. It was in this last year, 1919, when the publisher Schott decided to sign the young composer of 24 on the spot: a remarkable idea, even though his editors could never keep pace with Hindemith's galloping successes. In this first sonata, we find all the components of the master's art: formal and counter-punctual rigour, irresistible rhythms, always a dash of irony and self-mockery, and an utterly splendid sense of theme. Bach was his model, of course, at least in the structure and pattern of the discourse, although this music remained completely modern, and indeed often far ahead of its own time. A note on the final sonata of 1937: Hindemith recorded it himself, taking a few liberties with the printed score. Viola player Ruth Killius has taken it upon herself to "restore" the original, taking some liberties of her own, following Hindemith, who loved to experiment in the spur of the moment… Killius, a disciple of Ulrich Koch and Kim Kashkashian, is a regular at – in no particular order – the Salzburg Festival, Frans Brüggen's Orchestra of the Eighteenth Century, the Diapasons d’Or and the Gramophone Awards, and a regular performer of Beethoven, Elliott Carter, Isang Yun, Bruckner and Bartók; and with husband Thomas Zehetmair she founded the Zehetmair Quartet, which travels the world and plays all sorts of repertoires. © SM/Qobuz
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Kamermuziek - Verschenen op 2 maart 2018 | SWR Classic Archive

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Symfonische muziek - Verschenen op 16 februari 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason
No, this is not a re-edit, but really a brand new recording – January 2017 – made by the WDR Symphony Orchestra Cologne and Marek Janowski. In addition to the vigorous and explosive Symphonic Metamorphosis of Themes by Carl Maria von Weber, the theme in question stemming from Schiller’s version of Gozzi’s Turandot, the recording also features the rarer – and much less “fun” – Nobilissima visione suite. In the initial eponymous ballet from which the suite is derived, Hindemith depicted in musical tones a few episodes of the life of Giovanni di Pietro di Bernardone, better known as Saint Francis of Assisi. The last movement depicts, provided such a text can even be depicted, the Canticle of the Sun; Hindemith turns it into an immense and intense passacaglia that instead of actually “telling” the Canticle, manages to convey its sheer grandeur. The album closes on another splendour, Konzertmusik for Brass and String Orchestra, Op. 50 from 1930, as ordered by Serge Koussevitzky and the Boston Orchestra. In the great polyphonic tradition, the composer “opposes” groups, in this case the brass – 4 trumpets, 4 horns, 3 trombones, 1 tuba – and the strings (for which the partition requires the largest possible headcount), resulting in a fantastic musical, contrapuntal and architectural richness, not to mention a touch of humour in the race between both ensembles in the second part, as the brass play a rather quirky waltz with jazzy accents and the strings a much more “serious” style is adopted. For anyone barely familiar with Hindemith, these two latest works are a must-have, and more than likely a true revelation! © SM/Qobuz

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