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1698 albums gesorteerd op Date: from oldest to newest en gefilterd op Klassiek, Sinds 1 jaar en 24 bits / 96 kHz - Stereo
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Elektronische muziek of Musique Concrète - Verschenen op 7 november 2018 | Diagonal Records

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Klassiek - Verschenen op 8 november 2018 | Lauda Música

Hi-Res Booklet
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Duo´s - Verschenen op 9 november 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
At a time when Mozart was writing his first sonatas for violin and clavier, in 1778, it was the done thing to write piano sonatas with violin accompaniment in which the violin part is fairly unobtrusive. The purpose of this was not to put off the target audience for the scores: educated amateurs. But Mozart paid no heed to this convention and took off into a new world with real duets, in which the two instruments found themselves on an even footing. At the same time, he avoided the corrective exaggeration which would appear in some scores which resembled violin concertos with a little piano support. Here we have a perfect balance between the two players: Isabelle Faust on the violin and Alexander Melnikov at the clavier. The latter of the two plays on a copy of a Viennese fortepiano made in 1795 by Anton Walter. The sound balance is utterly perfect, which is a relief, as all too often these sonatas either favour the keyboard part when played on the piano or the violinist tries to force it. We have here two sonatas written in Paris shortly after the death of Mozart's mother (who accompanied him on the journey), and then another from 1787 written in the wake of Leopold Mozart's death. Despite this the composer seems to be putting on a brave face, flashing a smile tinged with a tender nostalgia on the Sonata in E Minor K. 304. © SM/Qobuz
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Klassiek - Verschenen op 9 november 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
With the exception of one sole Rossini piece – and even then, the text isn't very Italian as it's the Cats' Duet whose only lyric is "miaow" – this whole programme is dedicated to French works, mostly vocal, with a couple for solo piano. Sophie Karthäuser and Eugene Asti have set off on a wild goose, pig, dromedary, cricket, crow, and fox hunt, keeping an eye out for many other furry, feathered and scaly beasts along the way, with Ravel, Chabrier, Offenbach, Hahn, Bizet, and Poulenc for company – all of whom have written music for creatures great and small, real and fantastical. Alright, on occasion these animals might not be animals, strictly speaking, like Satie's Statue de bronze (although the statue in question is of a frog), or The Little Shepherd from Children’s Corner by Debussy. Another rarity: there are three melodies from Poulenc's Bestiaire which have been left out of most recent editions: La Colombe, La Puce and Le Serpent. © SM/Qobuz
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Opera - Verschenen op 9 november 2018 | Naxos

Hi-Res Booklet
The Tetralogy in China: even Wagner himself would never have dreamt it, even in his wildest dreams of world conquest armed with his "Gesamtkunstwerk". But Hong Kong Philharmonic finished recording the Götterdämmerung in January 2018, led by their musical director Jaap van Zweden. It is the product of four years of public performances and live recordings, a fine recipe for preserving the vivaciousness and continuity of the work. And if Wagner had had such a high-quality orchestra at his disposal, maybe he would have had the Bayreuth festival set up on the bank of the Pearl River in order to see real justice done for his masterpiece... The record itself brings in some of the most experienced voices of the time. The "touchstone versions" have some stiff competition in the form of this new complete edition. The Hong Kong Philharmonic may lack some of the sometimes-weighty "traditions" of some other outfits, but they play this music as if it had just been written… © SM/Qobuz
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Operafragmenten - Verschenen op 9 november 2018 | Prima Classic

Hi-Res Onderscheidingen 5 de Diapason
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Symfonieën - Verschenen op 9 november 2018 | Ondine

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional Sound Recording
What a curious and charming piece of work the First Symphony by Witold Lutosławski is! Written in 1947, it is still borrowing from Stravinski, Bartók, Prokofiev and clearly Roussel, and yet it display the composer's own personal ideas, and his flawless skill in orchestration. But he had not yet made the dodecaphonic style his own, nor the principle of randomness which would be found later in 1961's Jeux vénitiens (Venetian Games). In his case, randomness refers to musicians or groups of musicians having the freedom to play their different parts when they feel like it, or when the conductor gives them a cue. But for sure, this piece's formal framework is still constrained: every performance will shed a different light on it, but it is still the same work. The album finishes with the Fourth Symphony, the composer's last, written between 1988 and 1991, performed in 1993 with Lutosławski himself conducting before his death a few months later. In this work he makes a clear return to his harmonic and melodic ideas, which at times approach Mahler or Bartók, even though the discourse remains decidedly modern. The contrast between the First Symphony, Jeux vénitiens and the Fourth Symphony could not be more spectacular, and it gives a brilliant picture of the evolution of a musical genius who embraced a wide range of influences, constantly adapting them to his own style. © SM/Qobuz
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Klassiek - Verschenen op 9 november 2018 | Ondine

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
With a career spanning two thirds of the 20th century, Estonian composer Heino Eller (1887-1970) can be rightfully considered as one of the founders of the country's national musical style. His style remains resolutely tonal while taking on board the influences of French impressionism, German expressionism, and of course Edvard Grieg and Jean Sibelius, but also a certain "nationalism" in the choice of themes. At the outset of his career in the 1920s, his country had been liberated from the grip of the Russian Empire before falling back into the hands of the USSR in 1940. In those twenty years, a feeling of a distinct Estonian culture developed. His Violin Concerto got off to a bumpy start: written in 1934, revised three years later, it had to wait until 1965 for its world première – conducted by a young Neeme Järvi, its recording was organised by a young Arvo Pärt, a follower of Eller – but only in an abridged form. This recording gives us the score in full. The Symphonic Legend of 1923, substantially revised in 1936, was a kind of calling card for the composer: it contains all the possible influences he could have fit into it, from Ravel to Debussy, Sibelius and even Hollywood. This is the first ever release on CD. The 1948 Second Symphony was never finished, likely due to the pressure of the USSR and the infamous Zhdanov, whose decrees silenced many artists. The movement which has survived to this day, troubling and violent at times, doesn't really represent a smiling Socialist Realism, and – worse still – seems to evoke a Baltic national consciousness, which couldn't have pleased the dictatorship's policemen… © SM/Qobuz
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Kamermuziek - Verschenen op 9 november 2018 | Naxos

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Klassiek - Verschenen op 9 november 2018 | Cedille

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 9 november 2018 | Naxos

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Kamermuziek - Verschenen op 9 november 2018 | Naxos

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Klassiek - Verschenen op 9 november 2018 | deutsche harmonia mundi

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Klassiek - Verschenen op 9 november 2018 | RCA Red Seal

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Klassiek - Verschenen op 9 november 2018 | ATMA Classique

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Concertmuziek - Verschenen op 9 november 2018 | Fuga Libera

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Klassiek - Verschenen op 9 november 2018 | K&K Verlagsanstalt

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Klassiek - Verschenen op 9 november 2018 | Fanfare Cincinnati

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Klassiek - Verschenen op 9 november 2018 | K&K Verlagsanstalt

Hi-Res Booklet
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Klassiek - Verschenen op 9 november 2018 | Signum Records

Hi-Res Booklet