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Kamermuziek - Verschenen op 7 februari 2020 | Klarthe

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 6 december 2019 | TACET Musikproduktion

Booklet Onderscheidingen 5 de Diapason
At first sight, the programme of this album could seem extravagant. Indeed, it assembles into one single volume all of Brahms’ intermezzi, the works that the composer held so dear. In doing so, Evgeni Koroliov isolates them from pieces which Brahms classifies under the same opus number and whose sequence is almost too well-known by music lovers. Frustrated by this fact and inviting us to gloss over it, Koroliov instead explores a more secretive side of Brahms: one of melancholy emotions and solitary twilight walks. And the result is overall successful: there is decidedly no monotony in this suite of slow pieces which Brahms wallowed in throughout his entire life. The almost nonchalant version which the Russian pianist portrays here seems almost to be like a series of improvisations for a few select friends. The seriousness of the expression helps us understand why Schönberg referred to Brahms as “progressive”, just as the “dissonance” of opus 117 to 119 heralds the music of the future, with its harmonic audacity so displeasing to the ears of a certain Clara Schumann, to whom some of the pieces are dedicated. © François Hudry/Qobuz
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Duo´s - Verschenen op 6 december 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Trio´s - Verschenen op 29 november 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
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Piano solo - Verschenen op 25 oktober 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 18 oktober 2019 | Intense Media GmbH

Onderscheidingen 5 de Diapason
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Missen, passies, requiems - Verschenen op 6 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Brahms’s Requiem, completed in 1868, draws on the legacy of his forerunners, Heinrich Schütz and Johann Sebastian Bach. In setting texts from the German Bible, it deliberately departs from the models of the Catholic liturgy and imposes a sorrowing yet consolatory meditation on death and the Last Judgment, in the manner of a poignant and grandiose cradle song for the dead. © harmonia mundi