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Concerten voor cello - Verschenen op 30 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - Le Choix de France Musique
Cellist Sol Gabetta and her almost-favourite pianist, Bertrand Chamayou, focus here on Schumann's all too rare repertoire for cello and piano. And once again, none of these pieces are intended a priori for cello, even though the original scores do propose the instrument as a possible alternative to the clarinet in Fantasy Pieces or the horn in Adagio and Allegro. It was only with Five Pieces in Folk Style that Schumann immediately thought of the cello! Here, Chamayou plays on a Viennese fortepiano by Streicher, dated from 1847 - three or four years after the composition of these three works. The Concerto for cello is accompanied by the Basel Chamber Orchestra, who also play on instruments from the romantic era, giving a more hushed yet incisive sound for the attacks. There’s more of an emphasis on the woodwind section as well, in contrast to the over-inflated string ensemble that so many modern orchestras offer up. © SM/Qobuz
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Symfonieën - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Concerten voor cello - Verschenen op 30 november 2018 | Sony Classical

Hi-Res Onderscheidingen 4F de Télérama - Choc de Classica
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Liederen (Duitsland) - Verschenen op 16 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
Very different from Schubert’s Lieder, which are chants according to German “popular” tradition (usually strophic) with a musical accompaniment subservient to the singing (taking nothing away from their incredible genius!), Schumann’s are, to use Christian Gerhaher’s words, “lyrical dramaturgy”; miniature operas in which the piano and vocals are equal in content. This doesn’t explain why Schumann’s Lieder are so rarely performed in concert, with the exception of some well-worn cycles (normally Myrten, Dichterliebe and Frauenliebe und –leben). Gerhaher and his pianist Gerold Huber pick works from the genre’s ample repertoire that have almost never been performed in concert. Only three cycles date back to the “Liederyear” of 1840 (incidentally the year of his marriage to Clara Wieck), while the others are from the composer’s last years, beyond 1850, and are full of nostalgia… This is far from the dishevelled romanticism of his early years, the mood is dark and the discourse broken up into small brushstrokes. The contrast from one era to the other is striking. Gerhaher and Huber perform these surprising marvels brilliantly. © SM/Qobuz
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Piano solo - Verschenen op 1 februari 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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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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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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Kamermuziek - Verschenen op 5 april 2019 | Avie Records

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Klassiek - Verschenen op 8 februari 2019 | Naxos

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Klassiek - Verschenen op 7 juni 2019 | Accentus Music

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Klassiek - Verschenen op 21 juni 2019 | Sony Classical

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Klassiek - Verschenen op 7 juni 2019 | Quartz Music

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Klassiek - Verschenen op 16 november 2018 | Sony Classical

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Klassiek - Verschenen op 23 november 2018 | Sony Classical

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Klassiek - Verschenen op 9 november 2018 | Sony Classical

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Klassiek - Verschenen op 12 april 2019 | Warner Classics

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Klassiek - Verschenen op 22 maart 2019 | Sony Classical

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Klassiek - Verschenen op 18 januari 2019 | Sony Classical

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Kamermuziek - Verschenen op 11 januari 2019 | Signum Records

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Klassiek - Verschenen op 29 maart 2019 | Sony Classical

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