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89 albums gesorteerd op Meest aanbevolen en gefilterd op Concertmuziek en Sinds 1 jaar
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Concertmuziek - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - Exceptional sound - Hi-Res Audio
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Concerten voor viool - Verschenen op 7 september 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Concerten voor viool - Verschenen op 15 maart 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, here is the next instalment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43. This fascinating achievement is a timely reminder that the master of The Well-Tempered Clavier was also a virtuoso violinist! © harmonia mundi
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Concerten voor klavier - Verschenen op 12 oktober 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica
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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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Concerten voor cello - Verschenen op 18 januari 2019 | Warner Classics

Booklet Onderscheidingen Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
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Concerten voor klavier - Verschenen op 19 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique
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Concerten voor klavier - Verschenen op 7 september 2018 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
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Concerten voor cello - Verschenen op 2 november 2018 | PentaTone

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Exceptional sound - 5 Sterne Fono Forum Klassik
Lutosławski's Cello Concerto and Dutilleux’s Tout un monde lointain (also a cello concerto) are linked by their unique destinies. Both were led by Rostropovitch; both were started in 1967 and both were created by the patron in 1970. Both were performed "in the West": one in London, the other in Aix-en-Provence; and that's when things started to unravel for Rostropovich, who fell out of favour with Brezhnev's regime in the USSR. When the soloist left the USSR for good in 1974, Lutosławski's Concerto suffered the same fate in the East and was hardly played there for a long time. While the two works are perfectly contemporary, and the two composers as well, the difference between them couldn't be greater. Whilst Lutosławski's Concerto seems to describe chaos, with a soloist part that resembles a Don Quixote battling against an orchestra, Tout un monde lointain bathes in a fantastical light, where the cello is primus inter pares with the orchestra. Two visions, both so different, defended here with the same ardour by cellist Johannes Moser, who has worked on them and played them many times over, and his experience has produced a recording where every inflection is carefully chosen. © SM/Qobuz
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Concerten voor cello - Verschenen op 22 februari 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
Cellist Ophélie Gaillard and Pulcinella Orchestra focus on Luigi Boccherini, Italian composer and first virtuoso cellist in history. Born in the Tuscany, Boccherini then went to the Court of Prussa and Spain. His musical education looks like a journey around Europe, as it used to be. Long eclipsed by the violin, star of the string instruments, the cello slowly fit in the eighteenth century repertoire thanks to composers who played the instrument themselves. The now famous Suites of Johan Sebastian Bach are the first master pieces composed for the cello. Then Luigi Boccherini strengthened its place in the musical creation, thus becoming to cello what Vivaldi was to the violin one generation earlier. With rhythms of dance from Andalusia and melodies dug along the streets of Madrid, Boccherini draws with notes his adopted country such as his contemporary Francisco Goya did with colours. This double album explores all the genres (concertos, sonatas, symphonies) and invites the gorgeous Sandrine Piau to perform Boccherini’s poignant Stabat Mater for string quintet and solo soprano. © Aparté/Little Tribeca
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Concerten voor klavier - Verschenen op 1 februari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Concerten voor klavier - Verschenen op 7 september 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica
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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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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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Concerten voor blaasinstrumenten - Verschenen op 17 mei 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Concerten voor viool - Verschenen op 16 november 2018 | LSO Live

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Concertmuziek - Verschenen op 7 september 2018 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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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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Concertmuziek - Verschenen op 12 april 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Over the past five years, pianist Anna Vinnitskaya has made three Alpha recordings dedicated to Shostakovitch, Brahms et Rachmaninov. Evgeni Koroliov is a great master of the piano, a great Bach specialist, whose recordings of Bach are an acclaimed benchmark. His piano duo with his wife, Ljupka Hadzi-Georgieva, has made its mark over the past few years in all the major international concert venues. Also a highly reputed teacher, Koroliov was Anna Vinnitskaya’s professor at Hamburg. ‘Though I no longer study with him, I still meet and talk with him several times a week,’ she confides. ‘That helps me further in my development, not just as a pianist but as a human being.’ These three Slavonic pianists, who for some time have been aiming to record the Bach concertos as a team, decided to invite a German ensemble that is itself highly expert in Bach interpretation, the Potsdam Chamber Orchestra; they recorded this double album in a legendary venue where some of the greatest artists have recorded: the Jesus-Christus-Kirche in Berlin. © Alpha Classics
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Concerten voor viool - Verschenen op 5 april 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
With a quartet of violin concertos by Jean-Marie Leclair, Leila Schayegh continues her exploration of the instrument’s repertory, combining musical insight, virtuosic brilliance and historical understanding. Leclair, who grew up in Lyon and studied in Turin before moving to Paris (he held a short-lived official post at Louis XV’s court in the 1730s) produced solo sonatas (and duos) as well as his acclaimed concertos. In her booklet notes, Leila Schayegh, who currently teaches Baroque violin at the Schola Cantorum Basiliensis, comments on how Leclair – an outstanding violinist himself – was in thrall to the Italian instrumental style but was concerned that his music should not be played too fast; he was praised for his “netteté”, a combination of impeccable technique and musical perfection. This first volume in Schayegh’s projected series of recordings of the Leclair violin concertos embraces the Nos. 2 and 6 works from the two six-concerto series of Opp 7 and 10. The G minor concerto, Op. 10 No. 6, is frequently cited as being the highpoint of Leclair’s output. For this dazzling new exhibition of the Swiss violinist’s art, Schayegh – who plays a late-seventeenth-century Andrea Guarneri instrument – directs Basel’s La Cetra Barockorchester, which features Eva Saladin as its “konzertmeisterin” and Sonoko Asabuki as a further principal violinist (Leclair’s concertos often called for up to three soloists). © Glossa