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Wereldlijke vocale muziek - Verschenen op 15 november 2019 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Christina Pluhar has long been interested in the vocal music of the 17th century, in particular that of composer Luigi Rossi born around 1597 in the beautiful province of Puglia. He was the titular composer to the Medicis in Florence before taking a job with Cardinal Barberini in Rome. In France, Cardinal Mazarin commissioned him to produce the first Italian opera written specifically for the French court. In a manner of speaking, Rossi is at the root of the productions that another Italian, Lully, would later write for Louis XIV.In 2005, Christina Pluhar had recorded the Lyra d'Orfeo, taken from Rossi's desk drawer, with her ensemble L'Arpeggiata, with the voice of Veronique Gens in all its splendour. But a legal problem arose which prevented its production as a record for nearly 15 years. With the lawsuit ongoing, Christina Pluhar completed her project with Arpa Davidica, a new original compilation of works by Luigi Rossi, which she and her assistants discovered in various libraries.Pluhar has selected a series of virtuoso, theatrical pieces geared closely to the lyrics, as Rossi would set to music the most beautiful poems of his day. Taking on the best voices of the moment, Cécile Scheen, Giuseppina Bridelli, Philippe Jaroussky, Jakub Józef Orliński and Valer Sabadus, Christina Pluhar has pulled out all the stops to bring enchanting and incredibly musically-rich material back to life. The few indications relating to the instrumental accompaniment left on the manuscripts leave the performers almost total freedom. They can imagine all sorts of instrumental combinations to link complicated melismas with the virtuosity of the vocal lines that the composer intended. The interpretation also works as a complete recreation. © François Hudry/Qobuz
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Klassiek - Verschenen op 15 november 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Joseph Haydn composed around 15 masses between 1748 and 1802. The Missa Cellensis in honorem Beatissimae Virginis Mariae, presented here in this new release from the Akademie für Alte Musik and the excellent RIAS-Kammerchor Berlin conducted by Justin Doyle, is better known by the later name Missa Sanctae Caeciliae ("Mass for Saint Cecilia").It's the most vast of Haydn's masses and his only mass-cantata in the solemn Neapolitan style, whose numbers alternate between arias, ensembles and choirs. It seems that Haydn had intended the composition of this mass to be a great coup: it is a deft mix of the "modern" writing of his day and the "baroque" writing of his predecessors. In his monumental biography of the composer, Marc Vignal notes correctly that Haydn's masses are first-rate, not only set against the production of his quartets or symphonies, but also when set against the religious music of his times. This recording, taken at a June 2018 concert at the Berlin Konzerthaus, completes a RIAS-Kammerchor discography which is already rich in choral works but which hadn't yet tackled Haydn's masterpieces. © François Hudry/Qobuz
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Klassiek - Verschenen op 14 juni 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Koormuziek - Verschenen op 14 juni 2019 | haenssler CLASSIC

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 10 mei 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason d'or / Arte - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 12 april 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 29 maart 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 22 maart 2019 | Arcana

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Johann Sebastian Bach has always been considered one of the greatest music transcribers of all times. Many of his transcriptions (mostly the ones from Italian composers Vivaldi and Marcello) have become instant classics, and they are still viewed as masterpieces of the baroque repertoire. Bach has always been very active as a transcriber of his own music too. His masterful transcription of his Sonata for viola da gamba & keyboard No. 1, which he transformed into a trio for two flutes and continuo, has given the inspiration for this musical project. Tripla Concordia and Walter van Hauwe decided to transcribe even the other two Sonatas for Viola da Gamba as Trio Sonatas, walking in Bach footsteps. In doing so, the members of the ensemble actually fulfilled their desire of offering a new listening experience of this set of sonatas, with fresh colours and textures. Tripla Concordia sincerely hopes that those new versions will cast a new light on these works, thus giving the listener the opportunity of discovering new details and fresh instrumental combinations. Transcriptions of other two Bach masterpieces, the Organ Sonata No. 3 (transcription by Sour Cream) and the Partita for Lute BWV 997, complete the recording. © Arcana
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Klassiek - Verschenen op 15 maart 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 18 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 4 januari 2019 | Toccata Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
This recording of music by Ernst Krenek (1900–91) covers almost half a century of his compositions, and shows the sheer range of his creativity: from early piano fugues written for his teacher, Franz Schreker, via elegant fin de siècle Viennese lyricism to a relaxed application of Schoenberg’s dodecaphonic technique – often enlivened with a surprising degree of charm and a knowing sense of humour. © Toccata Classics
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Vocale muziek (wereldlijk en religieus) - Verschenen op 21 september 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
The tenor Julian Prégardien joins Alpha Classics for several recording projects that will showcase every facet of his talent, notably lieder and oratorio. His first album on the label is devoted to one of the greatest masterpieces in the history of music, Winterreise in a version with orchestra composed by Hans Zender in 1993. He scored the work for orchestral forces very different from the ensembles used in the nineteenth century (including, for example, a soprano saxophone, an accordion, a harmonica, a wind machine, a guitar and a very large percussion section). Hans Zender describes his work as a ‘creative transformation’: ‘My own reading of Winterreise does not seek a new expressive interpretation, but systematically takes advantage of the freedoms that performers normally allow themselves in an intuitive way: slowing down or accelerating the tempo, transposition into different keys, emphasising and nuancing colours.’ © Outhere Music
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Kamermuziek - Verschenen op 3 augustus 2018 | Toccata Classics

Hi-Res Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 1 juni 2018 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 20 april 2018 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Pärt's four symphonies stretch across a period of 45 years, from 1964 and 1966 respectively for the first two, 1971 for the third, and 2008 for the fourth. His first steps into the works of the symphony were still marked by dodecaphonism, although Pärt would not resist the gradual appearance of tonal poles in his work and "accidental" encounters between consonant notes and the harmonies that resulted; but the discourse remains very much linked to modernist principles, while exploring older forms of prelude and fugue, or indeed polyphony. With the Second, Pärt's avant-gardist period came to an end. From the 1970s, Pärt would completely revise his language, and come to concentrate on religious and medieval music, in such a way that his Third Symphony throws out dodecaphonism and all its theories, developing in their place a tonal, melodic, modal idiom (the old ecclesiastical styles, in fact). And within this personal revolution, Pärt would take a step into "tintinnabulum", which formed the basis of the Fourth Symphony, written for strings, harp and percussion: a wide world of meditation, stunning, unreal, intangible, and fundamentally tonal, in which the movements from one phenomenon to another move immensely slowly, allowing the listener to savour every moment. © SM/Qobuz
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Symfonische muziek - Verschenen op 13 april 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
Recording Ravel's music on period instruments is the kind of thing that might raise a smile... until you realise just how much the production of instruments has changed in less than a hundred years: it's the return of catgut strings, skin drum heads, the French basson (and not the German system bassoon which is used across all the world's orchestras today), shaper tips, trumpets and trombones of French manufacture. At the head of his orchestra Les Siècles, François-Xavier Roth gives a new, orthodox, historically-informed version of Ma Mère l’oye (complete ballet), the Tombeau de Couperin and Shéhérazade, the long-neglected "ouverture de féérie" [Fairy Overture] which is pure Ravel. This return to the roots is clearly easier and more straightforwardly authentic for this period of music history, because, unlike earlier works, we possess recordings which date back to the 1920s, and even earlier, which can tell us about the style, the colours, the phrasing and the tempo. But it isn't enough just to have all this historical information to hand to make something interesting. What makes this record thrilling is that all the musicians in the Siècles are excellent, and François-Xavier Roth is a talented artist himself, who knows this music inside out. At which point, his complete recording of Stravinsky's Firebird has already struck us with its quality. This rediscovery of Ravel resounds with clarity and finesse; it is a feast of well-defined timbres which cuts against the "beautiful sound" which prevails in orchestras around the world today. © François Hudry/Qobuz
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Kamermuziek - Verschenen op 13 april 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Although Shostakovich's Third Quartet and his Piano Quintet have long been a part of the Belcea Quartet’s and Piotr Anderszewski’s repertoires, they had never recorded any of the composer's material. There is an interesting analogy between this point in the careers of the quartet and the pianist on the one hand and the composer's own life on the other: it was at the age of 32 that, although he was already onto his fifth symphony, Shostakovich wrote his first string quartet. For a long time his demanding attitude towards himself held him back from attempting what he saw as "one of the most difficult of all the musical genres". The impetus came – against the composer's will – from the dastardly Stalin, who had sparked the greatest crisis in Shostakovich's career: in 1936 the dictator had attended a performance of Lady Macbeth of Mtsensk, which later got an ominous review in Pravda, which growled about "chaos replacing music" and denounced "hysterical, degenerate music". The young composer ran the risk of arrest and execution: and so it should come as no surprise that after that experience he turned to the more private genre of the string quartet. Every listener can make their own between-the-lines reading of political protests or humanist messages in the work: at any rate it is very hard to see "just" pure music here, for all its fluency. That applies just as much to the Third Quartet of 1946, in which passages recalling Haydn rub shoulders with rather more violent material. The Quintet for Piano and Strings dates back to 1940, and it received the Stalin Prize – which was symptomatic of the unpredictable relations between Shostakovich and the regime, which saw him at once as traitor to the people and a model artist. The composer claimed that he added the piano part to his quintet so as to be able to play it himself, and to take advantage of whatever travel opportunities might come his way as a result...© SM/Qobuz
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Klassiek - Verschenen op 2 februari 2018 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 19 januari 2018 | VCM Records

Hi-Res Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 25 augustus 2017 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
The fact that Tomás Luis de Victoria was born in 1548, 27 years after Josquin des Prez’s death, must not lead the listener to assume this album presents “disparate” works of a composer from the early Renaissance on the one hand and of a second composer from the late Renaissance on the other. In those times, composers’ works were passed around – often as tablatures for lute and vihuela music – and most importantly, each interpreted them according to their own ideas (particularly because tablatures were unobtrusive regarding rhythms), their instrument’s abilities, and depending on whether they performed alone or in support of a singer… This CD offers a personal interpretation of the works of Victoria and Josquin, as imagined by the voices of singers John Potter and Anna Maria Friman, as well as the vihuelas of Ariel Abramovich, Lee Santana and Jacob Heringman. In order to better highlight the vividness of language in the Renaissance, the latter offers us half a dozen small instrumental “Preludes” scattered across the album, that he improvised in the style of the time, using snippets, accents, suggestions, turns as they were then used. Here is an excellent overhaul of the very concept of “historical authenticity”, as it always remains closely related to the time, instruments, instrumentalists, and the thousands of layers of possible interpretations of Renaissance music. © SM/Qobuz