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Piano solo - Verschenen op 12 april 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
For a truly great interpretation it’s not enough just to play a historical instrument, the playing also has to be up to scratch. This recording released by the world-renowned label ECM showcases a pianist of the highest calibre playing the wonderful Viennese Brodmann piano. András Schiff captures the convergence of thought and sound remarkably well and seldom before have we been given so much insight into Schubert’s innermost thoughts. The softness and the unmistakable legato that the pianist produces on this Viennese instrument give the Sonatas D. 958 and D. 959 an indescribable feeling of nostalgia. But Schubert’s inward revolt was growing and András Schiff leads us steadily to the edge of the abyss. The crystalline sounds of the Scherzo in the Sonata D. 959 are as enchanting as the sound of ancient harpists who were so often depicted by German Romantics. This exploration into sound is also marvellous in the Impromptus D. 899 and the 3 Klavierstücke D. 946 or “Three Piano Pieces”, which have a very expressive counterpoint that differ from the unfathomable depth of the sonatas. This album is a revelation into a whole new world of sound that is unveiled as András Schiff’s fingers touch the keys. Inspiring. © François Hudry/Qobuz
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Symfonieën - Verschenen op 9 november 2018 | Aparté

Hi-Res Booklet Onderscheidingen Diapason d'or - Exceptional sound - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 2 november 2018 | BIS

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
Founded in 2005, the Chiaroscuro Quartet brings together musicians from all the corners of Europe: the Russian Alina Ibragimova and the Spaniard Pablo Hernán Benedi on violins, the Swede Emilie Hörlund on the viola and France's Claire Thirion on the cello. From their very first performances Chiaroscuro have been hailed as "a trailblazer for the authentic performance of High Classical chamber music" by the very highbrow UK music magazine Gramophone, and "a shock to the ears of the best kind" by The Observer. Indeed, their performance of Schubert is compelling in its rhythmic freedom and its limitless palette of contrasts. It goes from the gentlest pianissimo to the most resounding full-bowed fortissimos by way of a thousand and one shades which are hardly ever heard in the performances of "classical" quartets. In their hands, the discourse of Death and the Maiden takes on a bitterness, a pure romanticism and even a level of modernity as they strip out the rather sepia-Vienna aspect which some traditional interpretations feature. As for the Ninth Quartet in G minor, it's one of the those Schubertian miracles written in his adolescence: coming to light in 1815 its discourse is indeed tragic, but lacking in the inconsolable depth of Death and the Maiden. However, this doesn’t make it any less of a masterpiece. © SM/Qobuz
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Kamermuziek - Verschenen op 5 april 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
This recording is Anima’s very first to be completely devoted to instrumental ensemble music. A group of musicians headed by violinist Jakob Lehmann breathes new life into two 19th-century masterpieces. Schubert's Octet in F is a crown jewel from the repertoire, taking its cue from Beethoven’s celebrated Septet yet at the same time paving the way toward the "Grosse Sinfonie". Roughly 20 years after its iconic recording of the complete Schubert symphonies, Anima brings its signature approach to the composer’s chamber music to explore it with the insights and “language skills” developed back then and from thereon. In contrast to Schubert, Franz Berwald has been largely forgotten – undeservedly, as this gifted Swede left behind an oeuvre that is both surprisingly modern and delightfully original. Performed on period instruments, using authoritative sources and contemporary playing techniques, these brilliant pages of large ensemble music are now ready to be rediscovered and enjoyed once again. © Alpha Classics
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Piano solo - Verschenen op 15 maart 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Trio´s - Verschenen op 18 januari 2019 | Masterworks

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 1 februari 2019 | PentaTone

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Kamermuziek - Verschenen op 5 april 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 7 juni 2019 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Andrea Lucchesini’s career continues discreetly in the shadow of more mediatized Italian pianists. The star pupil, like Nelson Goerner, of the great Maria Tipo, Lucchesini has invested a lot of his time into concerts and recording. After becoming known for his interpretations of Luciano Berio’s music, in particular his concerto Echoing Curves directed by the composer himself, he has recorded the integrity of Beethoven’s sonatas for the label Stradivarius.Over the last few years, Lucchesini has concentrated on Schubert, “my great love”, he calls him. These two very different composers on the cusp of romanticism fascinate Andrea Lucchesini who presents here his first volume dedicated to the late works of Schubert. These works were written at a time when the composer of Lieder returned to composing sonatas amidst greats like Beethoven who also coincidentally lived in the same town.For Lucchesini, Schubert remains an enigma. The man left behind almost no written documents, he never stayed put in one precise residence and no one could understand his shyness, agitation, nor his latent homosexuality. “Rediscovering his final works”, says Andrea Lucchenini, “showed me the difference between the artist who entertained his friends and the composer who worked in solitude without any prospect of being published nor played.” Such solitude that longs to break free can be heard clearly in this album, particularly in the interpretation of Andantino of Sonata D. 959 through which troubling phantoms move. © François Hudry/Qobuz
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Klassiek - Verschenen op 1 februari 2019 | Chandos

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Klassiek - Verschenen op 19 oktober 2018 | Alpha

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Alexander Lonquich has his own special place in the world of the piano: this German pianist, who made his home in Italy, has enjoyed an untypical career. A disciple of Paul Badura-Skoda, he is highly respected by many conductors and instrumental artists, such as Philippe Herreweghe, Nicolas Altstaedt and Christian Tetzlaff, with all of whom he collaborates on a regular basis. Navigating his way between the modern and the early piano, he takes the time needed to allow programmes to properly mature, working on them and thinking them over for several years. Such was also the case for this recording, carefully made on a modern Steinway piano, and we have genuinely fallen in love with it. As Alexander Lonquich’s accompanying notes to this album testify, the artist has intensively reflected on and lived with the music of Schubert before recording it. The year of Schubert’s death, which took place on 19th November 1828, was marked - particularly from its springtime - by an extraordinary burst of artistic creativity, produced at a frenetic working pace. It was during this period that he composed the three last piano sonatas and the threeKlavierstücke that make up this programme. © Alpha Classics
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Klassiek - Verschenen op 19 oktober 2018 | PentaTone

Hi-Res Booklet
Does it need to be said that Schubert's First Symphony was in fact the work of a 16 year-old youth? You would never guess just by listening to it: the instrumentation, the form, the harmonic daringness, the richness of the themes, the moves from tragic to carefree which characterise his work, it's all there. Yes, Beethoven's influence makes itself felt, as does Mozart's and Hayden's, but Schubert's very personal style is apparent in all corners of this work. René Jacobs and the B’Rock orchestra – based in Belgium, and not a purely baroque outfit despite its name as they play everything up to Pärt – give a spirited interpretation, brilliantly underlining the contrasts. The album continues with the Sixth, the "little C major" of 1817-18 (as opposed to the "big", the Ninth), which brought in Rossini's influence at a time when the latter was conquering Vienna. But again, the energy unleashed in this piece carries the Schubertian hallmark, to say nothing of the almost-monumental architecture that comes close to that of his final masterpieces. The B’Rocks and Jacobs bring out the innate theatricality of this material, making every moment a celebration. © SM/Qobuz
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Klassiek - Verschenen op 31 mei 2019 | Chandos

Hi-Res Booklet
Barry Douglas’s critically acclaimed series of Schubert’s piano works reaches its fourth instalment. For this recording, Douglas has chosen to present three piano sonatas from the middle of Schubert’s short life: No. 5 (D. 537) and No. 11 (D. 575), both composed in 1817, complemented with the Sonata No. 15 (D. 664), composed just two years later. The three sonatas all spring from a period when Schubert was experimenting with tonality, both in the sense of less usual keys (D. 575 is in B major) and in terms of the relative keys of the movements, and of sections within movements. Irrespective of this experimentation, Schubert’s incredible talent for melody and lyricism shines through each of the works, and is masterfully heightened in Douglas’s interpretations. Like the previous three volumes in the series, the recording was made on a Steinway Model D in the Curtis Auditorium at the CIT Cork School of Music. © Chandos
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Symfonieën - Verschenen op 22 maart 2019 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 5 juli 2019 | Chandos

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In this, the first of a series of three recordings of Schubert’s great song cycles for Chandos, Roderick Williams and Iain Burnside bring their formidable talents to bear on one of the pinnacles of classical lieder. In November 2015, Roderick Williams decided to immerse himself in an intensive three-year period of studying and performing the three song cycles by Schubert, following an invitation from the Wigmore Hall. The process has involved not just performances in concert around the globe, but open rehearsals, master-classes, workshops, and radio broadcasts. Roderick Williams has documented all of these experiences in great detail in his fascinating "Schubert Cycle Project" blog. He writes: ‘Somewhere along the way I came to a decision; that my eventual performances at the Wigmore would not be the ultimate goal of my study; rather, the study itself, the act of preparation would be my focus. It is possible that other singers might find the process interesting, even if only to share some of the grind that is most often done alone; it is also possible that others might be intrigued, especially audiences, perhaps even (fellow) students.’ © Chandos
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Klassiek - Verschenen op 26 april 2019 | MUSO

Hi-Res Booklet
The three sonatas in this recording date from the spring of 1816. Their modest dimensions, 'for pianoforte with accompaniment of violin' - an old-fashioned formulation evoking the eighteenth century - led to their being published as 'Sonatinas', even though their facility is only apparent and in no way reflects their nature, nor Schubert's intentions. They correspond to a fertile period for the composer and are contemporary with his Fourth Symphony, his Stabat Mater, the composition of his opera Die Bürgschaft, much chamber music and, of course, lieder - the final draft of Marguerite at the Spinning Wheel and the Erlkönig date from March 1816. Schubert also experienced great personal changes, and with the support of a circle of acquaintances that expanded in the direction of an artistic, intellectual and liberal elite that was betting on his talent, he took it upon himself fully to become a composer. These sonatas are the work of a composer aged 19 who, in admiration of Mozart, drew close to the worlds of Weber and Beethoven. Indeed, the spirit of Mozart runs right through these three sonatas, he who represents the crucial reference at this time, and certainly was such for Schubert. Yet without imitating the master, Schubert rewrites the 'Mozartian' sonata, romanticises it, opens it out to the new century. Though the style is far from the richly varied and virtuoso approach of Beethoven's sonatas, it should not be underestimated, and it is more interesting to see what they already contain that is typical of and unique to their composer, and what heralds his future style. Two Muso artistes, both with long experience as chamber musicians, have got together to play these magnificent pieces: the excellent violinist Stéphanie Paulet and the pianist Daniel Isoir, who for the occasion plays an outstandingly beautiful Schott piano of 1835. © Muso/PIAS
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Koormuziek - Verschenen op 3 mei 2019 | Genuin

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"Freude, schöner Götterfunken!" ("Joy, fair sparks of the gods") seems to be the cry of the fifth and penultimate Platte by the Camerata Limburg of the complete recording of Schubert's works for male choir. The title of the program is "Elysium", which says it all. This recording is a pleasurable stroll through heavenly realms: known and unknown, from poems by Schiller, Klopstock and many, many other wonderful poets. The interpretation is on par with the entire collection: an immaculate ensemble sound and an interpretation wonderfully worked out by conductor Jan Schumacher and his masters. © Genuin
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Klassiek - Verschenen op 11 januari 2018 | audite|forum

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Schubert's eight "spontaneous inventions" from 1827 are character pieces that are among the best known and most popular works for piano. Full of rich lyricism, they are much more than trifles or whims, as the title suggests. © Audite
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Klassiek - Verschenen op 10 mei 2019 | Klarthe

Hi-Res Booklet
To the two collections of lieder found after the death of Schubert, the editor Haslinger added a fourteenth lied and gave the overall title of 'Swan Song'. Not a veritable cycle, but very much immersed in the intimacy of the composer's last moments of life, nostalgic, heart-rending, desperate and eventually soothing, it is this journey that the performers undertake here, with an Erard piano from 1859, miraculously preserved, bringing a unique colour to this masterpiece. © Klarthe
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Klassiek - Verschenen op 15 maart 2019 | PentaTone

Hi-Res Booklet