Albums

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Klassiek - Verschijnt op 5 juli 2019 | Decca Music Group Ltd.

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Klassiek - Verschijnt op 5 juli 2019 | Avie Records

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Kamermuziek - Verschijnt op 21 juni 2019 | Metier

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Klassiek - Verschenen op 14 juni 2019 | Oehms Classics

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Klassiek - Verschenen op 7 juni 2019 | Accentus Music

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Klassiek - Verschenen op 7 juni 2019 | Quartz Music

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Klassiek - Verschenen op 31 mei 2019 | VCM Records

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Klassiek - Verschenen op 31 mei 2019 | Sony Classical

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Klassiek - Verschenen op 3 mei 2019 | Warner Classics

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Klassiek - Verschenen op 26 april 2019 | Queen Elisabeth Competition

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Klassiek - Verschenen op 26 april 2019 | Warner Classics

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Klassiek - Verschenen op 19 april 2019 | harmonia mundi

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Justinus Kerner, a poet and a practicing physician fascinated with occultism, somnambulism and magnetism, inspired young Schumann who, at just seventeen, set to music the singular poet’s verses. He would eventually come back to it in 1840 with a strange cycle, “a masterpiece of dereliction” (according to Brigitte François-Sappey) he wrote as an exorcism for his mental illness: through a suite of twelve poems (Zwölf Gedichte Op. 35, better known as “Kerner Lieder”), Schumann projects his own destiny, questioning himself, trying to understand why sadness overwhelms his soul even though he’s in-love and newlywed. This pain produced a series of masterpieces that are still admired for their musical and philosophical reach. Liederkreis Op. 24 also dates back to 1840, a surprisingly prolific year for Schumann who composed like a mad man; his first cycle of lieder based on poems by Heinrich Heine about love and its inevitable consequences: expectations, hope, disillusionment and farewells. The result of many years of collaboration between Matthias Goerne and Leif Ove Andsnes, this album, recorded in Berlin in 2018, will undoubtedly be a landmark in Schumannian interpretation. The German baritone’s voice has grown deeper with age, giving a unique intensity rich with doubt and desolation, an impression reinforced by the strength and intensity of the Norwegian pianist’s performance. © François Hudry/Qobuz
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Kamermuziek - Verschenen op 19 april 2019 | Atoll

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Kamermuziek - Verschenen op 19 april 2019 | Music and Arts Programs of America

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Klassiek - Verschenen op 12 april 2019 | Oehms Classics

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Born in Bamberg in 1987 to a German mother and Korean father, Christopher Park is the product of two prestigious piano traditions: the Russian school where he was taught by Lev Natochenny and the German school where he was taught by Joachim Volkmann. The two approaches to teaching are often contradictory and Park is constantly required to make a choice by combining the approaches of the two schools according to the piece he is playing and according to his own personality. In addition to his solo career, Christopher Park is an experienced chamber musician and a sought-after accompanist for lieder, a genre in which he has already recorded three albums with Richard O’Neill and Sumi Jo.  His two recitals were released by Deutsche Grammophon and a first solo album released by Oehms Classics which placed Schumann’s Fantaisie alongside pieces by Stravinsky (Three Movements from Petrushka) and Olga Neuwirth (Marsyas). Here he is again for the same label in a program entirely dedicated to Robert Schumann in which he performs Arabesque, Concerto without orchestra, Blumenstück and Carnival of Vienna.  Christopher Park is a pianist who captivates with his beautiful sound, the fluidity of his playing and the flawless sound material of his instrument that is neither heavy nor ostentatious. The directness of his approach allows him to get straight to conveying the heartfelt voice and emotion that are so characteristic of Schumann’s work. It was these musical abilities that impressed the judges of the Leonard Bernstein Prize at the Schleswig-Holstein Festival launched in 2014 and he won alongside musicians Lang Lang and Lisa Batiashvili. Christopher Park is also a dreamer who loves nature and taking a walk in the woods to recharge his batteries between trips. “Music never stops” he says, “it’s always in my head”. © François Hudry/Qobuz
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Klassiek - Verschenen op 12 april 2019 | Ondine

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Klassiek - Verschenen op 12 april 2019 | Berlin Classics

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Performing as a permanent "piano duo" ensemble provides fulfilment and obligation in equal measure: it is a rewarding challenge because the two musicians must always seek the right balance and a suitable combination of skills that they can exhibit at one piano or on two identical instruments. "When we sit at two pianos, we cannot see the other's hands, and when we sit at the same piano, we cannot see each other's face – none of that is necessary. We have a sort of body sensitivity that helps us to communicate with one another on a sub-conscious level and to inspire each other." It can sometimes be difficult when it is necessary to justify oneself time and again for performing arrangements, simply because the original repertoire for piano duo is limited. The two pianists avoided that problem on "Illumination" because on this album, they have coupled musical masterpieces that were actually arranged for two pianos by famous composers. Three great works, three great arrangers: Liszt arranged by Saint-Saëns, Schumann and Saint-Saëns by Debussy. "All three versions remained utterly true to their reference points and can therefore be seen as 'translations'. The coherence of structure within the imaginative narrative of these Romantic works comes as a revelation in the piano versions," explains Gil Garburg. However, the fact that these are arrangements is not the driving factor for Silver-Garburg. In fact, they are playing their Liszt, Schumann and Saint-Saëns. They set the focus on the Romantic repertoire: "One of them is a dramatic piece, a huge sonata form uniting all of the movements in a revolutionary manner. Then there is a series of short character pieces which reveal the composer's inner life while they reflect the Baroque era. The last work is a brilliantly entertaining concert piece that aims to enchant and impress in capriccio style." Music played by four hands, brought to life by two Israelis living in Berlin. "It is easy to make an impression as a piano duo using virtuoso effects. But that alone is not enough," they say. "We have the impression that we have compiled a sort of cyclical programme: Debussy pays tribute to the older French master Saint-Saëns, who in turn honours his esteemed colleague Liszt, who in his turn dedicated his B minor Sonata to Schumann, whose works are now in the safe hands of Debussy." © Berlin Classics
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Klassiek - Verschenen op 12 april 2019 | Warner Classics

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Klassiek - Verschenen op 5 april 2019 | Sony Classical

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Klassiek - Verschenen op 5 april 2019 | Sony Classical

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