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3453 albums gesorteerd op Meest aanbevolen en gefilterd op Klassiek en Sinds 1 maand
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Klassiek - Verschenen op 20 maart 2020 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama
After a double album dedicated to Boccherini and acclaimed by critics, Ophélie Gaillard and the Pulcinella Orchestra reveal the incredible sound palette of Vivaldi, one of the most brilliant venetian musicians. Drawing on the finest cello works of the composer, Ophélie Gaillard’s selection places great emphasis on the concerto, for one, two or even four performers. It also includes an exclusive reconstruction of the Concerto RV 788. The vocal interventions of Lucile Richardot and Delphine Galou light up the program like rays of sun through the clouds. The album alternates between moments of great emotion, sometimes even dolorous as in the Largo of the Concerto RV 416, and moments of passion and frenzy (in the Concertos RV 419 or RV 409) that evoke "The Summer" from The Four Seasons. This music thus unveils all its mysteries in the interplay of lights and shadows, giving its name to this recording. © Aparté
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Klassiek - Verschenen op 27 maart 2020 | Ambronay Éditions

Hi-Res Booklet Onderscheidingen Diapason d'or
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Symfonische muziek - Verschenen op 13 maart 2020 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
Erkki-Sven Tüür, born in Estonia in 1959, writes music that is characterised by intense energetic transformation. The intuitive and rational approach is synthesised into a complete organic system. He is the composer of nine symphonies, ten concertos, numerous chamber works and an opera. Dedicated to his compatriot Paavo Järvi and composed to mark the centenary of the Estonian Republic in 2018, Tüür’s Ninth Symphony is entitled "Mythos". According to the composer, this refers to the myths that arise about nations and how they have acquired their independence, and also deals with the long history of the Finno-Ugric peoples. Paavo Järvi and his Estonian Festival Orchestra have made the world premiere recording of this work, along with The Incantation of Tempest (2004), dedicated to the Estonian composer Veljo Tormis, and Sow the Wind, composed in 2015, inspired by climatic ‘gusts of wind’ and ‘whirlwinds’. © Alpha Classics
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Klassiek - Verschenen op 27 maart 2020 | Deutsche Grammophon (DG)

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Piano solo - Verschenen op 13 maart 2020 | harmonia mundi

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What exactly is this “new path” (neuer Weg) that the infamous fortepianist Andreas Staier is inviting us on with this new album published as part of harmonia mundi’s vast Beethoven 2020-2027 project? All the works offered here were composed at the dawn of the 19th century by a young tempestuous composer who was conscious of his worth but also of his weakness as he began to feel the first effects of the deafness that would go on to take over his life. This recital is mind blowing from the first few beats of the thundering Sonata No. 16 in G major. With his crystalline, weightless fortepiano built by Mathias Müller around 1810, Staier seems to show us how much this frail instrument labours to show the full spectrum of the composer’s genius, boundary-breaking as it was at the time. The three sonatas and two series of variations that make up this programme were all published in 1802, at a time when Beethoven wanted to “start something new” at the turn of the century after the slew of revolutionary torment that had shaken Europe to its core. It was a new way of thinking for a composer who spoke with a more authoritative tone than his predecessors, in the “first person”. Andreas Staier is without a doubt one of the best possible performers to portray this new era of musical and artistic thinking that arose during a troubled time (the rise of Napoleon) when the clarity of language rivalised the closing off of individuality. © François Hudry/Qobuz
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Klassiek - Verschenen op 27 maart 2020 | Claves Records

Hi-Res Booklet
This recording was made in April 2019 at the Ernest-Ansermet Studio in Geneva, after five concerts in Switzerland during the preceding days. The desire to be as faithful as possible to the rhythm of the drama of the Passion and to the evidence of the musical sequences, which is easier to feel during a live performance than in front of the relative abstraction of the microphones, as well as a non-negligible time constraint (three and a half days in the studio for a work of 160 minutes), pushed the members of Gli Angeli Genève to record long takes, sometimes including up to 10 or 12 minutes of music, thus getting as close as possible to the feeling of a concert. In concert, with small vocal groups, Gli Angeli Genève systematically places the singers in front of the instruments regardless of repertoire, so as to give speech in music the most prominent place possible. When recording, since the audience’s crucial role cannot be replaced by the microphones, the musicians place ourselves in a large circle, all facing each other. They can see each other playing, singing, vibrating, breathing and reacting. The idea of reaction is central to this work where, when the action of the story is suspended, it is immediately replaced by emotion and poetic as well as musical beauty that Matthew’s story inspired in Bach and Picander. Airs as well as chorales. And within this circle they can react together, engage in dialogue, and see themselves feel the drama and powerful affects that mark the work relentlessly. And then they can share the pleasure and sometimes the awe - so beautiful is the music – of being able to live all this together. Forming a circle to make this music and observing the extraordinary musicians of Gli Angeli Genève at work led Stephan MacLeod (the conductor) to realise the extent to which The Saint Matthew Passion has structured the career and relationship to music of many of his colleagues. © Claves Records
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Klassiek - Verschenen op 3 april 2020 | Sony Classical

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Klassiek - Verschenen op 20 maart 2020 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 20 maart 2020 | Alpha

Hi-Res Booklet
The latest album from the Les Basses Réunies ensemble takes us deep into the phantasmagorical world of the Trattado De Glosas (literally "Treatise Of The Glosses") published by Diego Ortiz, a unique testament of the instrumental music of the Spanish Renaissance mixing poetry, profundity, innovation and virtuosity. Published in Rome in 1553 in both Spanish and Italian, this treatise offers a series of variations for several instruments. In the second volume, recorded here in its entirety, we find a succession of Ricercares (a typical 16th century musical form based on a process of imitation) of rare melodic and rhythmic richness, whose roots lie in then-popular dance pieces such as passamezzo antico and passamezzo moderno, the Ruggiero, the folia and the romanesca. The performance of this second book alternates the two main musicians, Bruno Cocset and Guido Balestracci, who are joined by bass viols, organs, harpsichord and vihuela (Spanish baroque guitar). The Basses Réunies’ work of re-reading this repertoire is closely linked to organology, through the rediscovery of instruments which were lost and then recreated for the occasion. These restorations relied on the use of period paintings (in particular the works of Greco) and a collection of engravings representing musicians and rare instruments, which have often unfortunately survived to the present day in a rather pitiful state. The pioneering and visionary work of the instrumentalist, composer and theorist Diego Ortiz contains a foreshadowing of the art of "diminution" (ornamentation of a melody) that would go on to reign supreme over all Italian music of the Renaissance. © François Hudry/Qobuz
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Klassiek - Verschenen op 3 april 2020 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 20 maart 2020 | Decca Music Group Ltd.

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After recording Antonín Dvořák's complete Symphonies with the Czech Philharmonic, of which he was the musical director from 2012 to 2017, the great conductor Jiří Bělohlávek set out to record the religious works of his compatriot, but death interrupted his attempt. Overcome by cancer in 2017 at the age of seventy-one, he had time to record the Stabat Mater just weeks before his death, as well as the ten Biblical songs, Op. 99 that feature on this new album. The project is taken up today by Jakub Hrůša who directed the Requiem and the Te Deum during the Prague Dvořák Festival in October 2017. Completed only a few weeks after the death of Jiří Bělohlávek, this recording takes the form of a posthumous tribute to the departed conductor. Composed in 1890, the Requiem premiered the following year in Birmingham under the direction of Dvořák. This splendid Requiem Mass, in its sobriety, evokes both the melancholy of departure and the hope of a future life free of all despair. Generally considered as the writer's most profound work, the Requiem speaks to Dvořák's existential soul-searching as he approached his fifties. The work is shot through with a deep and sincere faith without any folk references, and magnified by a choral writing which is full of grandeur and delicate instrumentation. Dvořák, though a simple man, left in these pages a true meditation on human destiny. ©️ François Hudry/Qobuz
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Klassiek - Verschenen op 27 maart 2020 | Alpha

Hi-Res Booklet
Giovanni Antonini, virtuoso flautist and orchestral conductor, is the founder of the Italian ensemble Il Giardino Armonico, which burst on the baroque musical scene in 1985; together they have amassed an impressive discography. Partnered by Alpha Classics, they have launched a complete recording of the 107 symphonies by Joseph Haydn, in anticipation of the 300th anniversary of his birth in 2032. Il Giardino Armonico is celebrating a composer with whose music he made his name: Antonio Vivaldi. With Antonini as soloist in a programme of his own devising recorded between 2011 and 2017, a generous bouquet of concertos "per flauto" : RV 433 (‘La Tempesta di Mare’), plus the Concertos RV 441, 442, 443, 444, and 445, and an amazing version of Cum dederit, a solo from Nisi Dominus RV 608, for the chalumeau, the predecessor to the modern-day clarinet. © Alpha Classics
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Klassiek - Verschenen op 20 maart 2020 | harmonia mundi

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Before Versailles, the epicentre of power in the Kingdom of France was the Louvre, a genuine theatre of ceremonies where music was duty-bound to impress with its magnificence. In the reign of Louis XIII, the air de cour and ballet mobilised the elite of composers such as Moulinié, Guédron and Chancy. The most famous of them, Boesset, guided the polyphonic air inherited from the Renaissance towards a more intimate conception: before the sumptuous splendours to come in the shadow of the Sun King. It is a rich array of delicately chiselled miniatures that the combined talents of the Ensemble Correspondances give us the opportunity to hear today. © Harmonia mundi
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Koormuziek - Verschenen op 20 maart 2020 | Accent

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The name of the composer Jan Dismas Zelenka (1679-1745) was nothing more than a footnote in a few scholarly dictionaries, before the great oboist Heinz Holliger discovered – and in 1972, along with Maurice Bourgue, recorded – all his sonatas in trios for two oboes and continuo. A great composer who had been swallowed up over the years was suddenly revealed. Following this discovery, many musicians and musicologists have been working steadily to excavate the music of an author who became the most important Czech composer of the baroque period. As was often the case with composers of his time, Zelenka's catalogue runs to a considerable size, consisting mainly of religious music, with twenty-three Masses and three Requiems. Bach knew his peer and respected him, although their music is very different: one with its Lutheran origins and the other with a fervent Catholicism which brings the Czech's work a passionate charge and a more emotional expression than the austerity of the Leipzig master. At the head of his Collegium Vocale 1704, Václav Luks is continuing his work around Zelenka, this time bringing us an imaginary mass based on various psalms composed around the year 1724. It is a showcase for works which are original both in terms of their expressive power (with bold chromatisms) and their varied instrumentation featuring trombones and a rich continuo. © François Hudry/Qobuz
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Klassiek - Verschenen op 27 maart 2020 | harmonia mundi

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Encompassing works by Arvo Pärt (Estonia), Pēteris Vasks (Latvia), and James MacMillan (a native of Scotland), this album charts the evolution of choral music in three regions of Northern Europe that saw the rise of a startling new language beginning in the 1980s. Its subsequent development has had far-reaching implications well beyond the staid confines of the house of worship or the serial techniques current at the time. The spiritual focus of this trio of trail-blazers resonates with many of today’s composers, a dimension that has not escaped their listeners or, for that matter, Graham Ross, the enterprising director of music at Clare College, Cambridge. © harmonia mundi
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Klassiek - Verschenen op 20 maart 2020 | Arcana

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Violinist Giuliano Carmignola and cellist Mario Brunello: one of the greatest interpreters of Vivaldi and Bach, whose recent recording of the Sonatas and Partitas was described by the authoritative magazine Gramophone as ‘a definite first choice among period instrument recordings of these works’; and his long-time friend Mario Brunello, acclaimed for his personal reinterpretation of that same famous collection on the violoncello piccolo (A469). Accompanied by the Milanese ensemble Accademia dell’Annunciata, they offer a highly original, experimental programme. Inspired by the three existing double concertos for violin and cello by Vivaldi – an unusual coupling in eighteenth century concerto literature – they revisit double concertos by Vivaldi and Bach (the famous BWV 1043 for two violins and BWV 1060 for violin and oboe), transposing the second solo part an octave lower on the violoncello piccolo. Underpinned by persuasive historical and musicological evidence, the approach first and foremost reveals their pleasure in working together on an innovative project. The outcome is a delightful opportunity to enjoy famous pieces in a totally different light. © Arcana
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Klassiek - Verschenen op 20 maart 2020 | Glossa

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A marvellous celebration of long-standing musical partnerships in one of the pinnacles of the sacred vocal art from the French Baroque comes with a new recording of the Leçons de ténèbres by François Couperin from Les Nouveaux Caractères, directed from the keyboard by Sébastien d’Hérin. This Glossa release features the French vocal pairing of the ensemble’s co-founder, soprano Caroline Mutel and mezzo Karine Deshayes, an active participant in many of the recordings devoted to the ongoing renaissance of French nineteenth-century music to add to her “bel canto” skills, yet who still retains her love and technique for the Baroque. Indeed, when the ensemble was founded, one of the first fellow artists to agree to perform with them was Deshayes, and a concert in Versailles, dating back over a decade, saw Deshayes, Mutel and d’Hérin join forces for these three Leçons de ténèbres. From the mid-seventeenth century onwards the monodic “leçons de ténèbres” spread from Italy into France, and the genre was taken up by François Couperin, a leading advocate of the union of the two national styles. His surviving composition in this genre dates from 1714 and provide the singers with powerful opportunities to reflect the moving and harrowing texts taken from the Lamentations of Jeremiah, no more so than in the demanding duetting in the Troisième Leçon. Instrumental and vocal music feature highly in Les Nouveaux Caractères’ programmes even if, in recent years, it has focused on Baroque opera – a Glossa Purcell Fairy Queen, Leclair, Colin de Blamont, Campra, Rousseau, and a Glossa Rameau Les Surprises de l’Amour. This new recording adds instrumental music from Couperin and his uncle Louis to grace the vocal pearls. © Glossa
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Vocale muziek (wereldlijk en religieus) - Verschenen op 27 maart 2020 | Alpha

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A composer who led a dissolute life and ended up stabbed to death in Genoa, Stradella nevertheless left a distinctive stamp on the history of music. He is situated at the intersection of several stylistic paths and periods, at the crossroads between opera and sacred drama, since his output, and especially San Giovanni Battista, marks the encounter of the great Roman oratorio inherited from Carissimi with the Venetian opera of Cavalli. Stradella is also close to the next generation, that of Scarlatti and Handel. His music is characterised by liveliness, expressiveness and profound humanity. Although San Giovanni Battista enjoyed genuine success when it was premiered in 1675, it was only in 1949 that the work was exhumed from the libraries where its score lay slumbering. That event took place in Perugia, and the role of Salome was sung by Maria Callas. © Alpha Classics
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Kamermuziek - Verschenen op 13 maart 2020 | Claves Records

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From very early on, Mozart was aware of the possibilities of an ensemble situated halfway between concerto and chamber music. Indeed, it was Mozart who paved the way for the piano quartet in 1785 and 1786 with the two masterpieces that are presented here. Such an instrumental ensemble was unknown before this, but from that point onwards it would live on throughout the 19th century through the key works of Schumann and Brahms, then of Dvořák and several other famous musicians. The Quintet in G minor, K. 478, is bold right from the opening few bars, in a passionate key that Mozart used in famous works such as Symphonies Nos. 25 and 40 as well as his fabulous String Quintet, K. 516 from 1787. The powerful first movement, the lyricism of his Andante and his joyful final Rondo in G major have captivated chamber musicians from around the world for centuries. Its counterpart, the Quarter in E-flat major, K. 493, displays the carefree nature of youth but still shows a sense of maturity with darkness and nostalgia. Recorded in May 2019 in Drogheda in the Republic of Ireland, this album offers an outstanding interpretation of Mozart’s work by four exceptional musicians from very different backgrounds. Pianist Finghin Collins, originally from Dublin, studied both at the Royal Irish Academy of Ireland and with Dominique Merlet at the Geneva Conservatory. Violinist Rosanne Philippens is renowned for her talent as a performer (her version of Vivaldi-Piazzolla’s Four Seasons was a complete sensation in Lyon) and is an extraordinary communicator. Former solo viola of the Berlin Philharmonic, Hungarian Máté Szücs plays and teaches masterclasses all over the world and is now a professor at the Geneva University of Music. Last but not least, cellist István Várdai is the winner of the prestigious ARD Competition in Munich as well as the Tchaikovsky Competition in Moscow. In addition to his career as a chamber musician and soloist, he has now taken over Heinrich Schiff’s cello class at the University of Music and Performing Arts in Vienna. © François Hudry/Qobuz
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Klassiek - Verschenen op 13 maart 2020 | Ricercar

Booklet
The sudden death of Henri Ledroit in 1988, at the age of just forty-two, left music-lovers in a state of shock. His voice was new and unique among the French singers of the time and during his first encounter with Alfred Deller at a training course in Lacoste, the two of them hit it off immediately. The famous English countertenor was impressed by his trainee’s exceptional talent and strongly encouraged the young singer. From then on, Henri Ledroit’s career took off, both in concert as well as on stage with Nikolaus Harnoncourt and René Jacobs. In 1986, he sang as Ottone in Claudio Monteverdi’s The Coronation of Poppaea at the Lausanne Opera (Théâtre du Jorat), which had just opened under the direction of Renée Auphan. The production, directed by Michel Corboz and staged by Patrice Caurier and Moshe Leiser, would go down in history and the visual recordings of the performance are a testament to this. The great work of Du Mont is now being rediscovered thanks to the tireless efforts of Belgian musicologist Jérôme Lejeune under the Ricercar label and is intended to be played by the ensemble with the same name, under the direction of Jean Tubéry and Philippe Pierlot. This recording of Henry Du Mont’s Motets à voix seule from the early 1980s also features the vocals of the early Gérard Lesne. A pioneering work that can be heard today with all its original emotion intact. © François Hudry/Qobuz