Albums

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Klassiek - Verschenen op 14 juni 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 3 mei 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Fans of the British crown’s splendour will certainly marvel at this double album that reproduces the coronation anthems of the four monarchs of the 20th century: Edward VII in 1902, George V in 1911, George VI in 1937, and current Queen Elizabeth II in 1953. Very few of today’s ceremonies can reach such levels of grandeur.At the crossroads of tradition and innovation, these coronation ceremonies are characterised by the evocation of past heritage works, and the addition of numerous pieces commissioned specifically for the occasion to the best composers in the kingdom. For such events, Westminster Abbey is closed for several months to allow an army of craftsmen to build monumental galleries capable of hosting up to eight thousand guests. Then come the rehearsals with 400-singer choirs, half of them children, an immense orchestra, and the indispensable great organ.This recording is a selection of the best moments of these ceremonies, presented as a single liturgical structure. This ample reconstitution led by Paul McCreesh follows for the most part the 1937 ceremony, dropping however the era’s typical style when interpreting Handel. The musical approach has changed so much that it is presented here in the “baroque” style characteristic of our early 21st century. Some difficult choices were made, particularly regarding the Te Deum, the centrepiece and climax of the ceremony. A Cornelian choice between the ones from Stanford (1902), Parry (1911), Vaughan Williams (1937) and William Walton (1953). The latter was finally chosen, for its radiance and theatrical impetus. © François Hudry/Qobuz
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Klassiek - Verschenen op 26 april 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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€ 19,99

Kwartetten - Verschenen op 29 maart 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
Founded in 1998 at Pro Corda, Suffolk, the multiaward-winning Doric String Quartet describes recording Britten’s quartets as a significant milestone: ‘In our recording we have endeavoured to tread a line that brings out the humanity in these works but also recognises the need for distance and fragility. This is very personal and intimate music, yet also world-encompassing and timeless.’ The Quartet continues: ‘Another feature of this recording is that Hélène Clément, our violist, is playing on Benjamin Britten’s own viola. This instrument (on loan from the Britten-Pears Foundation) was made in 1843 in Milan by Francesco Guissani. It was previously owned by the composer Frank Bridge who gave it to Britten, as a departure gift when Britten and Pears set sail for the USA in 1939.’ Hélène Clément writes: ‘To be able to explore the music of Britten with the very sound that the composer had in his ears is the greatest honour and joy I could have imagined.’ © Chandos
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Vocale muziek (wereldlijk en religieus) - Verschenen op 22 maart 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 8 maart 2019 | B Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Short just as love, life, poetry, and a winter concert given at the Théâtre de l’Athénée, this new B Records album proposes a program of musical miniatures, from Fauré to Schumann and Brahms. An opportunity to hear the baritone Stéphane Degout, one of the best french melodists, and his partner Simon Lepper behind his piano, in a sometimes soft, sometimes stormy, always romantic album.
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Klassiek - Verschenen op 8 maart 2019 | PentaTone

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
On her first Pentatone album, pianist Tamara Stefanovich presents a highly personal selection of solo works by Bach, Bartók, Ives and Messiaen. Influences shows how these extraordinarily original and idiosyncratic composers let themselves be inspired by the exterior world, thereby demonstrating how authenticity comes from looking outside as well as inside. The repertoire spans from Bach’s embrace of Italian musical elements in his Aria variata alla maniera italiana, Bartók’s incorporation of folk elements in his Improvisations on Hungarian Peasant Songs, and Messiaen’s use of Hindu rhythms in Cantéyodjayâ to the collage of marching bands, sounds of trains and machinery, church hymns, ragtime and blues in Ives’ First Piano Sonata. In all cases, the exterior influences lead to deeply original and personal sonic galaxies. In that respect, the pieces presented here underline how identity results from a constant dialogue with our surroundings, ever changing and enriching our perceptions of ourselves and the world. © Pentatone
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Klassiek - Verschenen op 1 februari 2019 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Tasmin Little returns with a line-up of three women composers whose lives share some features but also significant differences that illustrate the complex lives of female musicians. Clara Schumann, Dame Ethel Smyth, and Amy Beach all came from families that encouraged their musical interests but balked, in varying degrees, at professional training and engagement. All three composers draw on the influence of Robert Schumann and Brahms; Beach and Smyth, in particular, were fond of metrical and motivic manipulation. Tasmin Little plays this music, so close to her heart, with her usual warmth and dexterity. The manuscript of Clara Schumann’s final chamber work, Three Romances, declares it ‘for piano and violin’, an ordering reflected in the relative complexity of the parts, the florid passagework here played beautifully by Little’s long-term collaborator, John Lenehan. © Chandos
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Klassiek - Verschenen op 25 januari 2019 | Rubicon Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
With the shadow of the Second World War hanging over a fractured Europe, revolutionary musical change was taking place, nowhere more so than in Paris in 1945. At first glance, combining Boulez, Dutilleux and Messiaen in a single programme may seem an uneasy balance, given the tensions between them, in-light of their divergent compositional paths. Nevertheless a great deal of mutual respect and admiration existed between them as they each established themselves as major creative forces. Boulez remained very attached to his former teacher Messiaen, and in his role as a conductor has done much to champion the latter’s music. Dutilleux also revered Messiaen as both a good friend and a musician, and has also praised much of Boulez’s work. It is in this context that this album seeks to illuminate their intriguing development across the second half of the century, by placing major works from each composer alongside shorter sketches. © Rubicon
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Klassiek - Verschenen op 11 januari 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Invaluable sound documents from one of the greatest pianists of the twentieth century. The third and final volume of the Berlin radio recordings by Cuban-born American pianist Jorge Bolet on audite presents repertoire novelties. With the exception of the Fledermaus paraphrase, all recordings are released for the first time. Once again, Bolet's performances document his universality and unceasing inquisitiveness, as well as his phenomenal musicianship and ability to adapt his virtuosity to diverse works. These recordings are therefore invaluable documents of a musician who today is justly considered one of the greatest pianists of the twentieth century. This selection comprises works of Beethoven, Chopin, Debussy, Dello Joio, Franck, Godowsky, Grieg, Liszt and Schumann. Beethoven's Fifth Piano Concerto did not form part of Bolet's regular repertoire: it is the only live recording on this edition. Further highlights include Schumann's Third Piano Sonata as well as major works by Chopin, such as the complete Op. 25 Études, in Bolet's masterful, lyrical interpretations. As an "encore", Bolet plays Godowsky's Concert Paraphrase of Strauss' Die Fledermaus. © Audite
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Wereldlijke vocale muziek - Verschenen op 30 november 2018 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
This recital by the countertenor Xavier Sabata, accompanied by Arnadí's Vespres ensemble, takes its title "L'Alessandro amante" from a lost homonymous opera by Giovanni Boretti. Why Alexander the Great? He is the most exploited historical figure in the history of opera, especially in the Baroque period, with Metastasio’s libretto Alessandro nell'Indie basing some sixty-five operas on the figure. Moreover, the historical Alexander was a complex figure, a mixture of violence, arrogance and ambition, but also a generous man, knowing how to recognize the humanity of an enemy by considering them his equal. The journey onto which his figure invites us is twofold: a biographical journey through battles, conquests and achievements first (not always historically accurate, mind...), as well as a musical journey through a hundred years, from 1660 to 1760, at a time when immense changes were occurring almost every twenty years. We therefore travel from Antonio Draghi to Nicola Porpora, via Handel, Leo, Bononcini and a few others in the same vein. The recital offers as many different "Alexanders" as it does pieces, though two major groups emerge: Alexander the warrior, reserved for higher voices, and Alexander the lover, whose melodies are entrusted to the alto register. Of course, Sabata can cover both poles. © SM/Qobuz
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Piano solo - Verschenen op 23 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
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Klassiek - Verschenen op 12 november 2018 | Melodiya

Hi-Res Onderscheidingen Gramophone Editor's Choice
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Concerten voor cello - Verschenen op 2 november 2018 | PentaTone

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Exceptional sound - 5 Sterne Fono Forum Klassik
Lutosławski's Cello Concerto and Dutilleux’s Tout un monde lointain (also a cello concerto) are linked by their unique destinies. Both were led by Rostropovitch; both were started in 1967 and both were created by the patron in 1970. Both were performed "in the West": one in London, the other in Aix-en-Provence; and that's when things started to unravel for Rostropovich, who fell out of favour with Brezhnev's regime in the USSR. When the soloist left the USSR for good in 1974, Lutosławski's Concerto suffered the same fate in the East and was hardly played there for a long time. While the two works are perfectly contemporary, and the two composers as well, the difference between them couldn't be greater. Whilst Lutosławski's Concerto seems to describe chaos, with a soloist part that resembles a Don Quixote battling against an orchestra, Tout un monde lointain bathes in a fantastical light, where the cello is primus inter pares with the orchestra. Two visions, both so different, defended here with the same ardour by cellist Johannes Moser, who has worked on them and played them many times over, and his experience has produced a recording where every inflection is carefully chosen. © SM/Qobuz
€ 29,99

Piano solo - Verschenen op 26 oktober 2018 | APR

Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
When thinking of the great German pianist Wilhelm Backhaus, the image of an old master with a large pale forehead often comes to mind, frozen in his somewhat wise and austere performances. With his fierce young Beethoven-like appearance, Backhaus gave his first recital in 1899 while his last concert, by which time he was a respectable old man, took place on July 5 1969, a week before his death. The miraculous advances in recording preserved this brilliant seventy-year-long career, because, unlike his colleagues Rubinstein and Schnabel who shied away from vinyl, Backhaus was one of the pioneers of the medium, having made his first records in 1908. Created for His Master’s Voice (HMV) between 1925 and 1935 and carefully restored here, these recordings are mainly devoted to Chopin (with the first complete recording of the Études), Liszt and Schumann. In addition, the second part is reserved for the transcriptions that were popular in those distant times. While the young Backhaus’ technique is breathtaking, it also teaches us something about musical history. Styles of playing change over the years and no one today would dare to play at such a dizzying speed. It was after the Second World War that pianists became a little more relaxed and began to abandon the sacred "short pieces" to play Beethoven's or Schubert's great sonatas, finding more gravity in keeping with the spirit of the times. The tempos slowed down significantly while the invention of the microgroove made it possible to capture long pieces of music, more favourable to the outpouring of expression than the 78-rpm sides allowed. It is truly touching to return to these recordings that symbolise a world that was lost forever. © François Hudry/Qobuz
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Duo´s - Verschenen op 26 oktober 2018 | Colin Currie Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 19 oktober 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Arseny Tarasevich-Nikolaev, the grandson of the great Russian pianist Tatiana Nikolayeva, was born in Moscow in 1993. He began playing the piano at the age of four and made his debut at the age of nine with the Bryansk Chamber Orchestra. After some brilliant performances in several international competitions, the doors of his career opened with a contract on the Decca label following his splendid performance of Rachmaninoff's Second Concerto at the Sydney Competition in 2016 (the year in which his first album dedicated to Ravel - Gaspard de la nuit - and Debussy - Préludes, Livre I and L'Isle joyeuse - was released). Cyrus Meher-Homji, the general manager of the classical and jazz division of Decca's Australian branch, saw Arseny Tarasevich-Nikolaev as the "ultimate piano aristocrat". It must be said that his exceptional talent, combined with his natural charisma and a good physique as a young early romantic are very advantageous to him. As a result of this contract, this first recording, entitled "Reflections", is dedicated to Russian music with Rachmaninov's Six Moments musicaux, Prokofiev's famous Visions fugitives, works by Scriabin, Medtner and Tchaikovsky and two Études from Tatiana’s "babouchka" which reveal the composers talent here. Arseny Tarasevich-Nikolaev has numerous projects on the go. Between a tour with the London Philharmonic Orchestra and recitals all over the world, this young pianist is one to watch. © François Hudry/Qobuz
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Klassiek - Verschenen op 19 oktober 2018 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Kamermuziek - Verschenen op 19 oktober 2018 | Cedille

Hi-Res Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 19 oktober 2018 | Delphian

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice

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