Albums

321842 albums gesorteerd op Best verkocht en gefilterd op Klassiek
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Piano solo - Verschenen op 14 juni 2019 | ECM New Series

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Klassiek - Verschenen op 28 juni 2019 | Deutsche Grammophon (DG)

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Kamermuziek - Verschenen op 7 juni 2019 | BIS

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In 1985 the Russian violinist Vladimir Spivakov published his own arrangement of the Goldberg Variations for a string trio at the time of the tricentennial anniversary of the birth of Johann Sebastian Bach. Dedicated to the memory of the Canadian pianist Glenn Gould who recently died, this deft transcription has since made a tour of the world and many recordings have flourished. When it came to recording their Goldberg, the Zimmermann trio (Frank Peter Zimmermann on violin, Antoin Tamestit on viola and Christian Poltéra on cello) decided to propose their own version of the string trio which was, according to the musicians, “neither an arrangement nor a transcription, but essentially a unveiling of Bach’s score”. The result is splendid as much is the exceptional capture of the three Stradivarius instruments used in this recording by the engineers of BIS. There is a pleasant “grainy” sound in the air between the notes and the perfectly balanced reverberations. A total success thanks to the addition of high-quality instruments, instrumentalists and technique. © François Hudry/Qobuz
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Soundtrack - Verschenen op 7 juni 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or
What a pleasure it is to return to Riccardo Chailly, at the head of the Filarmonica della Scala, with a collection on Rota (1911-1979) and more particularly his songs written for the great films of Fellini such as Amarcord, Huit et Demi, and La Dolce Vita! Before him, another Riccardo, Muti, had dedicated, in the 1990s, two albums with Sony Classical to the film scores of the Italian composer – with one collection on his non-cinematographic corpus. Whether Rota’s music was for cinema or the concert hall was of little importance as he rolled out, to the likes of Bernard Herrmann in the United States, a style that was true to himself where one feels his genius and prowess for evoking ambiance mixed with an incredible dexterity for the most diverse genres, as can be heard in Suite taken here from La Dolce Vita. The beginning (O Venezia, Venaga, Venusia) of the following Il Casanova di Federico Fellini, in which the chiming of the pendulum evokes the tragic destiny of the character and the harmonization of somber colors creates a sea-like atmosphere, remains without a doubt one of the most striking tracks on the album. This ambiance returns in the final part, this time all the more mind-blowing (The Dancing Doll). Often influences from the East, of Chostakovitch and Khachaturian (Il Duca di Württenberg), can be heard along with more meridian styles inherited from Italian symphonists from the end of the 19th century and the beginning of the 20th century. A passionate album not to be missed. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 5 juli 2019 | Decca

Hi-Res Booklet
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Klassiek - Verschenen op 7 juni 2019 | Warner Classics

Booklet
Thirty years after his premature death, the American harpsichordist and organist Scott Ross is still present in the hearts of music lovers. His name remains attached to the marathon of 555 sonatas of Domenico Scarlatti he recorded on harpsichord for Disques Erato. It is out of this achievement that Scott Ross took on the task of recording the integrity of Johann Sebastian Bach’s works on keys (harpsichord and organ), but the great grim-reaper thought otherwise. This new homage-publication takes existing recordings and completes them with hitherto unseen material from French, Swiss and Canadian radios, including concerts and recordings on both harpsichord and organ. This disparate ensemble finds its coherence through the remastering of a wide range of sources by Christophe Hénault from Studio Art & Son. The happiness of experiencing the intense, fantastic and colourful joy of Scott Ross again will satisfy numerous admirers who will find him in solo, but also in duet with his old teacher Huguette Grémy-Chauliac and the Mosaïques ensemble under the direction of Christophe Coin. © François Hudry/Qobuz
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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 21 juni 2019 | Decca (UMO) (Classics)

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Klassiek - Verschenen op 14 juni 2019 | Ricercar

Hi-Res Booklet
After having explored the remaining cantatas of Johann Sebastian Bach’s ancestors, Vox Luminis and Lionel Meunier have undertaken here a recording, accompanied by instrumentals, of these sacred vocal compositions. They are pieces that connect us to the principles of the “spiritual concert” (Geistliches Konzert) and that, through their multi-parted structure, belong to the origins of the sacred genre of the cantata. It was through Johann Sebastian himself that we owe the knowledge of his musical ancestors. Around the age of fifty, he felt the need to collate and retrace his family tree, most likely originating from Hungary where the miller Vitus Bach always brought a cittern with him on his way to grinding wheat. The works of the Bach family presented here represent the first of the sacred German cantatas along with those of Bruhns, Buxtehude and Pachelbel. We can hear here the predecessors’ works that led to one of the first similar works by Johann Sebastian, his cantata “Christ lag in Todesbanden BWV 4”, was considered for a long time as one of the first compositions of its genre. In addition to its striking likeness to the form of cantata eponymous to Pachelbel, this composition contains numerous elements which can notably be traced back to the works of his ancestors. © François Hudry/Qobuz
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Klassiek - Verschenen op 14 juni 2019 | Decca Music Group Ltd.

Hi-Res Booklet
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Liederen (Duitsland) - Verschenen op 31 mei 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
Born in a small Norwegian village in 1987 (and is thus inevitably compared to her long-time compatriot Kirsten Flagstad), soprano Lise Davidsen was almost built to embody Wagnerian and Straussian heroines. For her first record under the label Decca, with whom she has signed an exclusive contract, she has chosen to present several facets of femininity in the vocal stylings of Elisabeth (Tannhäuser), Ariane (Ariane à Naxos) and… Pauline. Pauline being Richard Strauss’ beloved wife to whom he dedicated many Lieder from his opus 27 - the 1894 cycle offered to his wife as a wedding gift - until the last Vier letzte Lieder in 1948.Under the supple baton of Esa-Pekka Salonen, the Philharmonic Orchestra embraces the brassy voice of the Norwegian soprano with finesse and elegance. As you will see, this record, with its carefully devised programme, oscillates between youth and old age, in the presence of ghosts and death. You may wonder how one can express mortality at just 30 years old with such a powerful timbre, radiant health and a whole life ahead of you. The answer lies in Lise Davidsen’s voice, which upsurges as if it were a promise of immortality, the music of the last Strauss piece returning one last time to its past, to a Europe in ruins.Discovered in 1984, after the death of the singer and dedicatee Maria Jeritza, Malven (“The Mallows") is Richard Strauss’ true “last song”. Lighter in tone than the Vier letzte Lieder to which it might have belonged, it is presented here in an orchestration by Wolfgang Rihm. © François Hudry/Qobuz
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Klassiek - Verschenen op 5 juli 2019 | Signum Records

Hi-Res Booklet
"Handel’s Queens" features some of the most exquisite pieces of music written by Georg Friedrich Handel and his contemporaries for the two finest singers of the eighteenth century, Faustina Bordoni and Francesca Cuzzoni. Often wrongfully framed as rivals, these dazzling new recordings with Mary Bevan and Lucy Crowe reveal the distinctive yet versatile talent of the Italian vocalists. Conductor Bridget Cunningham continues her research and created "Handel’s Queens" and directs London Early Opera from the harpsichord.
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Concertmuziek - Verschenen op 11 mei 2018 | naïve classique

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Concertos for viola d'amore represent a fairly atypical part of Vivaldi's work, and he was probably the first composer to write pieces for this work in the solo concerto format. The viola d'amore was certainly well-liked for its soft, suggestive sound, which evoked the moods and climes of the orient thanks, in particular to its sympathetic strings which vibrate with those strings the player bows. But it was little-used because of its complex tuning and objective difficulties involved in playing it. In fact, the instrument would be tuned in different ways to fit the tonality of the piece being played – the famous scordatura, so finicky for the musicians – and it is believed that Vivaldi wrote these specifically for one of the musicians at Venice's Pietá: the famous Anna-Maria. Another characteristic of these concertos for viola d'amore, the rapid movements are also much longer and fuller than in most of Vivaldi's writing, for example in the seven string concertos which figure at the start of the album, or in the miniatures which were intended as showcases for the talent of the greatest possible number of soloists in the public concerts at the Pietá. A little curiosity is offered up here in the shape of the original concerto La Conca RV163, whose themes mimic the sound of the "conca", a kind of large marine conch used as an instrument since prehistoric times. The recording includes a conch being sounded at the start of the first movement by way of explanation. © SM/Qobuz
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Klassiek - Verschenen op 31 mei 2019 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Jean-Efflam Bavouzet’s first three volumes of Mozart concertos with the Manchester Camerata and Gábor Takács-Nagy have been received with widespread acclaim, and so it is with some excitement that we release the keenly anticipated fourth instalment in the series. Composed within just one month in early 1785, these two concertos by Mozart are among the most popular of all his piano concertos. No. 20, KV 466 was his first concerto in a minor key, and its dark and stormy nature contrasts with the light and sunny atmosphere of Concerto No. 21, KV 467. Like so many of his piano concertos, both works were composed for the Vienna concert season and were given their premiere performances with Mozart at the keyboard. The two concertos are interspersed on this recording with a vivid performance of the Overture to Don Giovanni, which shares traits with both concertos and further demonstrates the exemplary playing of Manchester Camerata. © Chandos
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Klassiek - Verschenen op 12 juli 2019 | Decca

Hi-Res Booklet
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Viool solo - Verschenen op 19 april 2019 | Channel Classics Records

Hi-Res Booklet
€ 69,99

Klassiek - Verschenen op 7 juni 2019 | Deutsche Grammophon (DG)

Booklet
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Klassiek - Verschenen op 12 april 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 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 28 juni 2019 | Deutsche Grammophon (DG)

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Sacred Oratorios - Verschenen op 28 juni 2019 | Royal Concertgebouw Orchestra

Hi-Res Booklet