Albums

621 albums gesorteerd op Best verkocht en gefilterd op Klassiek en Meer dan € 50,00
€ 69,99

Klassiek - Verschenen op 7 juni 2019 | Deutsche Grammophon (DG)

Booklet
€ 79,99

Klassiek - Verschenen op 15 maart 2019 | Profil

Booklet
€ 79,99

Klassiek - Verschenen op 15 maart 2019 | Profil

Booklet
€ 79,99

Klassiek - Verschenen op 1 maart 2019 | Profil

Booklet
€ 59,99

Klassiek - Verschenen op 8 maart 2019 | SWR Classic

Booklet
€ 69,99

Klassiek - Verschenen op 19 juli 2019 | Glossa

Booklet
€ 67,99

Klassiek - Verschenen op 19 februari 2019 | Warner Classics International

€ 89,49
€ 77,49

Klassiek - Verschijnt op 13 september 2019 | Sony Classical

Hi-Res
€ 109,89

Klassiek - Verschenen op 14 juni 2019 | SWR Classic

Booklet
€ 69,99

Klassiek - Verschenen op 1 maart 2019 | Orfeo

€ 62,99

Klassiek - Verschenen op 16 maart 2018 | Deutsche Grammophon (DG)

€ 105,99
€ 91,99

Piano solo - Verschenen op 11 september 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
€ 97,99

Klassiek - Verschenen op 1 januari 1991 | Decca Music Group Ltd.

Onderscheidingen Gramophone Record of the Year - The Qobuz Ideal Discography
€ 67,99

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
€ 77,49

Concerten voor klavier - Verschenen op 21 augustus 2006 | Sony Classical

€ 83,99

Klassiek - Verschenen op 1 januari 2014 | Deutsche Grammophon (DG)

Booklet
€ 136,99
€ 97,99

Opera - Verschenen op 1 januari 2014 | Decca Music Group Ltd.

Hi-Res Booklet
€ 195,99

Klassiek - Verschenen op 1 januari 2013 | Archiv Produktion

Booklet
€ 83,99

Klassiek - Verschenen op 1 januari 2010 | Decca Music Group Ltd.

Booklet Onderscheidingen Choc de Classica
€ 187,49
€ 162,49

Opera - Verschenen op 22 september 2014 | Warner Classics

Hi-Res Booklets Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc Classica de l'année - 5 Sterne Fono Forum Klassik
The EMI masters of Maria Callas were re-mastered for the purposes of CD and released as a physical product in 2014. We are happy to offer it now as a full digital product in supreme audio quality. More than 25 years’ worth of music has been collected here, and filter applications have been applied to cover up sound defects (and other distortions). The recordings were passed into the expert hands of sound engineers Allan Ramsey and Simon Gibson, both of Abbey Road, who have made the recordings, under the directions of the Warner Classics label, as close to the sound of the originals as possible.  The gain in terms of sound is undeniable, whether by removing harsh noise or treating distorted sounds, and the natural harmonics have not been altered. What’s more, this decision to remaster everything has resulted in the recovering of the entirety of Callas’s oeuvre – meaning that we need no longer fear the disastrous loss of copies… But who said greater definition and cleanliness of sound permitted a better perception of detail! If we discern the disc’s nuances more clearly, the dynamic adjustments, soundscapes, etc., then we discern a greater fidelity in terms of timbre. Certain defects are, importantly, still left in play. Above all, Callas’s voice sounds more dramatic, brighter, more present, and more beautiful in its phrasing; especially pleasing is that it has been revealed for the first time in all of its acidity, in all of its cracks. With the sound completely rejuvenated, recordings such as La Tosca, Madame Butterfly, Il Trovatore, the Barber of Seville, and others, are as irreplaceable as ever. (GG)

Genre

Klassiek in het magazine