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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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Kwartetten - Verschenen op 11 januari 2019 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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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 2 november 2018 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 1 februari 2019 | PentaTone

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 8 februari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
With both of their lives cut short before they reached forty years of age, one from tuberculosis and the other from syphilis, the piano sonatas that Weber and Schubert left behind have either long been forgotten or are unheard of among pianists and the public. Luckily, this has been rectified for Schubert’s works thanks to pioneering pianists such as Artur Schnabel and Wilhelm Kempff, but more must be done for the works of Carl Maria von Weber who is still primarily known for his opera Der Freischütz (The Marksman). It takes an exceptional musician to bring forgotten music back to life and that is exactly what Paul Lewis does in this new album after having previously released fantastic interpretations of Beethoven and Schubert under the same French record label, Harmonia Mundi. Weber was around at the same time as Beethoven and was one of the first piano virtuosos from the beginning of the 19th century. His dazzling technique can be heard in this Sonata No.2 in A flat major which is both a virtuosic and a classic work that opened the door to romanticism for many other composers thereafter. The Sonata in B major, D 575 is actually from the same year that Schubert celebrated his twentieth birthday and sought independence from his parents to become a prolific composer, despite all the risks that came with a career as an independent artist at that time. This captures the beginning of romanticism and is an original and exciting pairing between two composers who appreciated each other’s work, but whose styles were diametrically opposed: the bright lights and panache for Weber and the melancholy soul for Schubert. © François Hudry/Qobuz
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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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Piano solo - Verschenen op 5 april 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 29 maart 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet
"Piano Book" is a compilation of post-Bach piano music’s greatest hits. Lang Lang puts together a retrospective anthology beginning with J.S. Bach’s Prelude in C major from the first book of the Well-Tempered Clavier. The piece, in fully written arpeggio, which every piano student has studied to practice fingering, articulations, and harmonic tiering is followed by Beethoven’s Lettre à Elise. Lang Lang then invites Mendelssohn (La Fileuse), Chopin (15th Prelude from Opus 28), and Mozart (Allegro from Sonata "Semplice" or Variations on "Ah, vous dirai-je Maman") The record also includes lesser-known repertoire from such composers as Badarzewska-Baranowska, Czerny, or Clementi and a few Chinese classic and traditional / popular songs from diverse parts of the world.Lang Lang has fun, especially when he plays French music. Performing Debussy’s Doctor Gradus ad Parnassum, he enjoys each afterbeat, plays with the basses, and even sings. © Qobuz
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Klassiek - Verschenen op 1 februari 2019 | Chandos

Hi-Res Booklet
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Klassiek - Verschenen op 1 februari 2019 | Warner Classics

Hi-Res Booklet
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Klassiek - Verschenen op 19 oktober 2018 | Alpha

Hi-Res Booklet
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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