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Opera - Verschenen op 22 september 2014 | Warner Classics

Hi-Res Booklets Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc Classica de l'année - 5 Sterne Fono Forum Klassik
The EMI masters of Maria Callas were re-mastered for the purposes of CD and released as a physical product in 2014. We are happy to offer it now as a full digital product in supreme audio quality. More than 25 years’ worth of music has been collected here, and filter applications have been applied to cover up sound defects (and other distortions). The recordings were passed into the expert hands of sound engineers Allan Ramsey and Simon Gibson, both of Abbey Road, who have made the recordings, under the directions of the Warner Classics label, as close to the sound of the originals as possible.  The gain in terms of sound is undeniable, whether by removing harsh noise or treating distorted sounds, and the natural harmonics have not been altered. What’s more, this decision to remaster everything has resulted in the recovering of the entirety of Callas’s oeuvre – meaning that we need no longer fear the disastrous loss of copies… But who said greater definition and cleanliness of sound permitted a better perception of detail! If we discern the disc’s nuances more clearly, the dynamic adjustments, soundscapes, etc., then we discern a greater fidelity in terms of timbre. Certain defects are, importantly, still left in play. Above all, Callas’s voice sounds more dramatic, brighter, more present, and more beautiful in its phrasing; especially pleasing is that it has been revealed for the first time in all of its acidity, in all of its cracks. With the sound completely rejuvenated, recordings such as La Tosca, Madame Butterfly, Il Trovatore, the Barber of Seville, and others, are as irreplaceable as ever. (GG)
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Piano solo - Verschenen op 13 september 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 23 mei 2015 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 16 juni 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Record of the Month - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Volledige opera's - Verschenen op 22 juni 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Qobuzism - 5 Sterne Fono Forum Klassik
Why yes, it is still possible to discover Bernstein scores, or in this case the chamber version of A Quiet Place, adapted by Garth Edwin Sunderland, conducted and recorded for the first time by Kent Nagano, at the Montreal Symphony House. The final stage score by the American composer, first performed at the Houston Grand Opera in 1983, it was revisited by the librettist Stephen Wadsworth, and the composer who added several fragments from the one-act piece Trouble in Tahiti, from 1951; this addition would see two new performances (the Scala in Milan, and Washington). Another draft – this one definitive – was performed at the Vienna Opera House, conducted by the composer, in 1986. Fascinating in more ways than one, rather like a modern-day Intermezzo by Strauss, the work depicts American society by way of an existential crisis faced, first by one couple, (Trouble in Tahiti) and then by one family. Bernstein borrowed from Mahler for the structure, with a final movement whose "grave nobility" recalled the final movements of the Third and NinthSymphonies by his much-admired forebear. As is often the case with this composer, Bernstein's mix of styles (jazz, chorale, Broadway, Mahler, Berg, Britten, Copland…) provides an explosive cocktail, which has about it more of a musical conversation than grand opera – and, paradoxically, that's what makes this work so unique... And so charming. This is well worth a re-discovery, this time under the baton of Bernstein's faithful former pupil, Kent Nagano, at the head of top-flight solo singers, who point the way to that "quiet place", where "love will teach us harmony and grace". © Franck Mallet/Qobuz
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Klassiek - Verschenen op 1 januari 2014 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 6 oktober 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - 5 Sterne Fono Forum Klassik
First you think : “here we go... yet agaaaaain another recording of Chopin’s two concertos”, then you read ‘world premiere’ in the description. Surprising, isn’t it? And yet, this is the truth, the whole truth, and nothing but the truth! This world premiere is describing the brand new orchestrations realised by Mikhail Pletnev. These re-orchestrations give prominence to the much more chamber-like aspect of the accompaniment, which admittedly is a little pale and formulaic in the version that we’ve known for almost two centuries. Pletnev has moderated the music score, thinning out some parts while not changing a single note: the piano part remains the same, and in the orchestra nothing changes apart from the instrumental assignation. In addition to those two concertos that are much more colorful, the pianist Daniil Trifonov offers us a handful of tributes to Chopin by his peers and successors: Schumann, whose admiration for the Polish composer wasn’t reciprocated, Grieg, Barber and Tchaikovsky, and most of all Mompou’s splendid series of Variations on a Theme of Chopin. New from old, but always for the best we won’t hasten to add. © SM/Qobuz
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Trio´s - Verschenen op 23 september 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Concerten voor klavier - Verschenen op 10 november 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 15 april 2016 | Universal Music Italia srL.

Hi-Res Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 12 oktober 2018 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 27 oktober 2017 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
The Swiss cellist (and composer) Thomas Demenga (*1954) is an artist on the world stage who defies classification: at once at ease in the most groundbreaking contemporary performances - we owe him many recordings of Cage, Holliger, Messiaen, Yun, Pärt, Zimmermann etc. – and in the classical repertoire, from Bach to Schubert, from Vivaldi to Mendelssohn, from Dvořák to Tchaikovsky. This is his completely new reading of Bach's Suites, which he gives with an immense, almost-improvisational freedom, even if he respects the texts to the letter: it is all in the accents, the rubatos, the articulations and the phrasing that he gives his imagination free rein, as if the ink wasn't even yet dry on these master-works. We are a long way, here, from some "cleaner", more "classic", "polished" readings from some great predecessors. But in reality, this music is sufficiently rich and ample to be seen from a thousand angles without losing any of its shine. Demenga, a disciple of Rostropovitch, Antonio Janigro and Leonard Rose, has entered a kind of pantheon, where he can bear comparison with any number of the greats. The deliberately rather low range which he has chosen lends greater depth and an uncharacteristically darker tone to his readings. © SM/Qobuz
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Kamermuziek - Verschenen op 10 mei 2019 | Berlin Classics

Hi-Res Onderscheidingen 5 Sterne Fono Forum Klassik
One of the most exceptional female artists of the 19th century celebrates her 200th birthday in 2019. The acknowledged Clara Schumann expert Ragna Schirmer has devoted a special act of homage to her artistic predecessor, taking two original concert programmes selected from Clara's decades of concert performance and recording them to provide insight into the life and work of this very special woman. In 1847, Clara and her husband Robert Schumann gave a matinee concert in the Berlin salon of Fanny Hensel. The programme featured two songs and the premiere performances of the piano quartet by Robert and the piano trio by Clara Schumann. 25 years later, on a tour of England, she played a solo piano recital (an unusual practice at that time) featuring all the works that meant most to her: her husband's Scenes from Childhood and works by Beethoven, Scarlatti, Chopin, Brahms and Mendelssohn, a programme that delighted her audience. She was announced as "Madame Schumann". From over 1300 printed programmes, collected and preserved by the celebrated pianist over the course of her performing career, Ragna Schirmer opted for just these two. "The number of great works she studied and performed in the course of her life is quite amazing", says Ragna Schirmer. "Another thing that fascinated me was the form, sequence and planning of her concerts. She played alongside the most important musicians of her time and most of her concerts reveal themselves to be varied compilations of different music genres". Ragna Schirmer has long been recognized for her intimate engagement with the life of Clara Schumann. In April 2019, she will receive the Robert Schumann Prize of the City of Zwickau. "I have all her diaries at home, I have all her letters at home, I have all the biographies ever written, her children’s reminiscences ... I find it incredibly exciting to be involved with this life and I regard her as an essential role model". © Berlin Classics
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Opera - Verschenen op 1 december 2017 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 Sterne Fono Forum Klassik
The opera Dorilla in Tempe, which was first performed in Venice in 1726, exudes a delightful rural atmosphere. The libretto tells a bucolic story set in a valley of Thessaly. Between amorous twists and a huge sacrifice, the various misadventures of Dorilla offer Vivaldi the occasion to deploy a luminous sound palette where hunting horns and flutes often support choruses and soloists. He resumed the work in 1728, still in Venice, then again in 1732 in Prague and one last time in 1734 at "his" theatre - Sant’Angelo. Only this 1734 version has reached us, and so it serves as a basis for present recordings. It is a "pasticcio", for which Vivaldi used various composers - Hasse, Giacomelli, Sarri and Leo in this case - whose melodies replace some of his own; about a third of them are borrowed from colleagues in fact. It was never Vivaldi’s intention to recycle on the sly: the principle of "pasticcio" was the most widespread at the time and very popular with the public. The particularly rare vocal timbres are noticeable: they are made up of almost exclusively deep voices, including three mezzos and one baritone and even two deep castratos, nowadays replaced by contraltos who are much easier to dig up. The entire score gives off a mad energy; a delightful peculiarity adorns part of the opening, in which Vivaldi takes over one of the movements with his Four Seasons with the addition of a choir - proof that even though this music is rich at the base, it can still be further enriched, provided your name is Vivaldi! Diego Fasolis and his ensemble I Barrochisti offer us here one of the very, very rare discographical performances of this neglected masterpiece. © SM/Qobuz
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Klassiek - Verschenen op 18 november 2016 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 28 april 2017 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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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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Duo´s - Verschenen op 12 januari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
The six Sonatas for Violin and Obbligato Harpsichord BWV 1014-1019 (“obbligato” – compulsory – means the keyboard is fully scored, as opposed to basso continuo for which only the bass is scored, the rest being left to the discretion of the performer, who improvises) are some of these works that Bach kept revisiting and reworking. The oldest remaining source – from around 1725, through one of his nephews – already highlights the will to make these compositions evolve by refining them with successive adjustments. The work underwent another overhaul in Agricola’s manuscript, around 1741, while a copy made around 1750 by Altnickol reveals a third cycle status. An observation made by the musician’s second youngest son, Johann Christoph Friedrich Bach – “He wrote these trios just before his end” – seems to have been interpreted as proof that Bach was still working on these sonatas in the last years of his life. This new recording by Isabelle Faust, a great specialist of baroque interpretation, and Christian Bezuidenhout on the harpsichord, discretely reveals the extraordinary richness of these works’ three-voice writing, that resembles the format of a trio sonata. © SM/Qobuz
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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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Klassiek - Verschenen op 19 augustus 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik