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Sacred Oratorios - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Month - Choc de Classica
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Religieuze vocale muziek - Verschenen op 26 oktober 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
For his first album as a soloist, the Polish countertenor Jakub Józef Orliński chose to explore some of the rarest repertoires, to the point that several of the pieces presented here are world premieres. As a result, we are introduced to composers who are almost unknown today: Gaetano Schiassi (1698-1754), Domènec Terradellas (1711-1751) and Nicola Fago (1677-1745), alongside other composers who are famous today such as Hasse, Zelenka or Durante. Helped by the bass-baritone Yannis François, Orliński covers a large amount of time, from the end of the 17th century to the last third of the 18th century, though solely in the spiritual domain, with Masses, Dixit Dominus or sacred oratorios. That said, the vocal and instrumental writing borrows from baroque, with its vocalisations, its embellishments and its brightness. On top of this, the ensemble il pomo d'oro performs the work with great confidence. © SM/Qobuz
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Viool solo - Verschenen op 5 oktober 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
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Piano solo - Verschenen op 24 mei 2019 | Le Palais des Dégustateurs

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Concerten voor viool - Verschenen op 26 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
To say that the concerto was one of Haydn's favourite forms would be a bit much, daft even. The man wrote a good hundred symphonies, dozens of quartets, trios, piano sonatas, fifteen or so masses and as many operas, and oratorios... Currently we know of three violin concertos (others being lost or apocryphal), two cello concertos (others... see above), one horn concerto, one for trumpet (there are no others) and at most about ten concertos for piano. Musically, they are fascinating works, but the level of technical skill they demand runs from moderate to a bit tricky. But the First Cello Concerto is not without its moments of difficulty, such as the rapid high notes in the final movement, and it offers some real fireworks. It should also be noted that most of the concertos were written for Esterházy, specifically for the first soloists in the house orchestra of Konzertmeister Luigi Tomasini and first cellist Joseph Weigl. The orchestral accompaniments offered the soloists some fine backdrops: in particular in the second movement of the Concerto for violin in C Major , with the orchestra's string section accompanying the solo violin with a sort of lute-playing that becomes a kind of serenade à la Don Giovanni. Amandine Beyer takes up the violin for this recording, while Marco Ceccato deals with the cello solo – both members of the Gli Incogniti ensemble ("The Unknowns"), a fluid grouping that plays without a conductor. Their leaderless style means that the musicians all listen to one another: it's a lovely way of making music (and sadly rare in the world of orchestras). © SM/Qobuz
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Klassiek - Verschenen op 19 oktober 2018 | Glossa

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice
One of the great composing figures from the French Baroque, Michel-Richard de Lalande is starting to receive his just dues through modern recordings, and Glossa is happy to unveil a new release featuring Olivier Schneebeli directing Les Pages et Les Chantres du Centre de Musique Baroque de Versailles in three of Lalande’s sumptuous “grands motets”. Very much a favoured composer during the reign of Louis XIV, Lalande progressively assumed – from the 1680s onwards – more and more of the principal court offices, and was called upon to provide sacred music for the Chapelle Royale within the Château de Versailles. Although the new (and ‘definitive’) chapel was not consecrated until 1710, the trio of “grands motets” (extended multi-movement choral and solo settings, typically of Psalms, with instrumental accompaniment) recorded here will have been conceived of according to the chapel’s architectural and acoustical characteristics. Thomas Leconte, from the CMBV, provides an illuminating historical backdrop in his booklet essay. Much detailed performing information from Lalande’s time is known today – including number of instrumental forces used and about the composer’s later revisions of his scores – and Venite, exultemus Domino, De profundis and Dominus regnavit all receive expressive and meticulously-prepared performances within the Chapelle Royale itself. To the quality of preparation of the CMBV “maîtrise” can be added the presence of a quartet of vocal soloists deeply experienced in the style of music from this time: Chantal Santon-Jeffery, Reinoud Van Mechelen, François Joron and Lisandro Abadie. Likewise, the contribution of Jana Semerádová’s Collegium Marianum provides exemplary instrumental support to Schneebeli’s direction in this new CMBV production. © Glossa
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Klassiek - Verschenen op 23 november 2018 | Ricercar

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
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Symfonische muziek - Verschenen op 12 april 2019 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Symfonische muziek - Verschenen op 8 maart 2019 | Fuga Libera

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Kamermuziek - Verschenen op 15 maart 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Kamermuziek - Verschenen op 7 december 2018 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason
These were the days when France was considered a European beacon of art and culture. This symbol of refinement and sophistication is brilliantly embodied here by Le Concert des Nations conducted by Jordi Savall in a dream French-German arrangement that combines the music of Jean-Ferry Rebel and Georg Philipp Telemann, who express themselves in a supranational musical style to reach a sort of baroque dance climax.Savall gives leans heavily on the carefree splendour of Louis XV’s reign with these successive rococo ballets for which one can easily imagine the astounding dancing steps depicted by paintings from the likes of Watteau, Lancret and Hallé.Jordi Savall’s interpretation is simultaneously rich, skilful and extremely refined. The whole vocabulary for dance and decorum is used in these scores which rely on the very rhythms of that era: minuet, jig, rigadoon, passepied and gavotte, as well as, at times, a form of nostalgia inherited from the previous century in memory of the end of the Great King’s reign.This is a deep dive into the lavish world of the wealthy living in a perfect bubble that the French Revolution would brutally pop at the end of this Age of Enlightenment; an era of political and social reflection that saw the emergence of the idea of tolerance before ending in a bloodbath, a bloodbath from which the modern world was about to be born. © François Hudry/Qobuz
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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
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Klassiek - Verschenen op 10 mei 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
2019 will see the 500th commemoration of the death of one of the greatest geniuses humanity has produced: Leonardo da Vinci, scientist, inventor, painter – and musician. Doulce Mémoire, having devoted themselves to Renaissance music for the past 30 years, have decided to pay homage to Leonardo. Their founder-director, Denis Raisin Dadre, an eminent specialist in the music of the period and a great lover of pictorial art, has devised an original programme: ‘Rather than just make music from the time of Leonardo, I’ve taken my cue from the paintings themselves. I’ve worked on what could be the hidden music of these pictures, what musical pieces might be suggested by them….’ He chose around fifteen paintings, many of which are now in the Louvre: The Baptism of Christ, The Virgin of the Rocks, Portrait of Isabella d’Este, Portrait of an Unknown Woman (La belle ferronnière), Saint Anne, St. John the Baptist… and of course La Gioconda. He then matched them with works by Jacob Obrecht (1457-1505), Josquin Desprez (1450-1521), laude for the Annunciation. There are also some frotolle, and songs to texts by Petrarch accompanied by the lira da braccio, an instrument Leonardo played himself. This recording comes with a handsome booklet, including reproductions of the pictures by Leonardo, some in detail, giving an intimate insight into them; there is also a text by Denis Raisin Dadre explaining his selection. © Alpha Classics
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Klassiek - Verschenen op 1 februari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
After having released his complete recording of Mozart’s Sonatas and collaborated with the singer Mark Padmore (Beethoven, Schubert, Schumann), Kristian Bezuidenhout continues to expand his discography with Joseph Haydn this time. Under the record label Harmonia Mundi, the South-African pianist emphasizes the whimsical and fanciful elements of a selection of Haydn’s works that were influenced by Carl Philipp Emanuel Bach, a composer from whom he learnt a lot and described with a certain fondness. Here, the Sonata in C major (Hob. XVI:48) is halfway between the Variations on a Theme and a totally unbridled fantasy, whereas the Sonata in C minor (Hob.XVI:20) unlocks the full dramatic potential of keyboard music. The later works on this album are contrasted with earlier ones such as the charming and spirited Sonata in G major (XVI:6) which is followed by two sequences of variations. This repertoire showcases Haydn’s inexhaustible creative energy as well as his ability to reinvent himself with each of his works. The performer relishes the performance here, playing on a Paul McNulty fortepiano modelled on an Anton Walter Viennese piano from 1805. © François Hudry/Qobuz
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Klassiek - Verschenen op 22 februari 2019 | Ramée

Hi-Res Booklet Onderscheidingen Diapason d'or
Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life. © Ramée/Outhere
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Klassiek - Verschenen op 26 oktober 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Not just restricted to the baroque repertoire, Japanese violinist and violist Shunsuke Sato (also written as Shunske Sato) does not hesitate to play some of the most contemporary works, many of which he wrote for himself. This means that his own way of playing Bach benefits from both teachings - the art of playing baroque on instruments and with ancient bows, and the art of playing in a contemporary style. This is, no doubt, what makes his reading of Bach so wonderful as he searches for pure beauty, making the instrument sing and linking the phrases with such coherence. Accompanying him, we find the wonderful Swiss ensemble il pomo d’oro (all lowercase) who embrace these musicologically indisputable teachings with a tone that sometimes even sounds romantic. In truth, Bach’s music often flirts with more tender accentuation, for example in the slow movement of Concerto for two violins, which Sato plays here with Zefira Valova, a violinist from the ensemble. It should be noted that the ensemble also seeks to rediscover the most intimate sounds that Bach could have conceived in these concertos, some of which were undoubtedly written to be performed at Café Zimmermann: one musician per desk! The resulting sounds are hugely different from other recordings which are sometimes performed by orchestras that are far too large for this work. © SM/Qobuz
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Wereldlijke vocale muziek - Verschenen op 4 januari 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
With Vieni, dolce Imeneo, La Compagnia del Madrigale make another important halt on their compelling journey across the territory of Italian secular song with a disc devoted to one of the most significant, yet these days somewhat bypassed, composers: Cipriano de Rore. De Rore was a Fleming who enjoyed great success notably in the Italian courts of Ferrara and Parma – but with a prestige which extended up and across Europe. He composed in many genres, but it is the secular madrigal – recorded here – where his skill was most valued, for example in creating extended and expressive melodic lines coupled with innovatory pre-echoes of the “seconda pratica” so triumphantly expressed – albeit amidst great criticism – by Claudio Monteverdi. Recordings – all also on Glossa – of madrigals by Marenzio, Gesualdo and Monteverdi have already demonstrated musical pleasures such as an uncommon vocal blend and delicacy, and a meticulous dynamic control exhibited by the richly experienced members of La Compagnia del Madrigale, and those delights are to be experienced with these 19 madrigals by Cipriano de Rore, composed late in his career. With texts by Petrarch, Ariosto and assorted court poets for these madrigals, essay-writer Marco Bizzarini highlights one of the principal characteristic features of de Rore’s mastery when he points to the disc’s title track, Vieni, dolce Imeneo: the ideal union between poetry and music. © Glossa
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Kamermuziek - Verschenen op 1 oktober 2018 | Aeolus

Hi-Res Booklet Onderscheidingen 5 de Diapason
No need to dwell on the The Art of Fugue’s one thousand and one secrets, whether real or presumed: let’s just play it, pure and simple. For too long, many considered it had been created more so for the eyes and mind than for the ears, and what a mistake that was! Bob van Asperen proves it once again with his incredibly deep 1741 Christian Zell harpsichord. Van Asperen only plays fourteen of the definite, finalised manuscript’s “contrapuntus”, adding a canon found annotated on the same manuscript, which was itself finalised. The other contrapuntus and canons in The Art of Fugue are drafts at various degrees of revision, and it is known that a monumental triple fugue remained unfinished. As a complement, the harpsichordist had the surprising yet outstanding idea to combine Berhard Klapprott and a second harpsichord to play two mirror fugues from other manuscripts, which require a large number of playing fingers. The sound disparities between both harpsichords help the listener follow Bach’s titanic contrapuntal inventions. It’s clear this music wasn’t intended for the eyes alone… © SM/Qobuz
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Religieuze vocale muziek - Verschenen op 11 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or
The regime of Queen Elizabeth I dealt harshly with supporters of the old Catholic religion. Torn between obedience and conscience, some of England’s most talented musicians – Philips, Dering and Dowland – chose a life of exile abroad. Others chose to remain in spiritual isolation in England, comparing themselves to the exiled Israelites in Babylon. Amongst them were Robert White, whose five-part Lamentations are one of the glories of English music of any age, and William Byrd, whose anguished Catholic music is referenced in Shakespeare’s enigmatic poem The Phoenix and the Turtle, vividly set by Huw Watkins especially for stile antico. © harmonia mundi