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Klassiek - Verschenen op 8 november 2019 | Moderna Records

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Klassiek - Verschenen op 8 november 2019 | NGMF

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Elektronische muziek of Musique Concrète - Verschenen op 8 november 2019 | The Wormhole

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Elektronische muziek of Musique Concrète - Verschenen op 8 november 2019 | Different Circles

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Elektronische muziek of Musique Concrète - Verschenen op 8 november 2019 | Marmo Music

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Klassiek - Verschenen op 8 november 2019 | flau

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Klassiek - Verschenen op 7 november 2019 | Interplatz Music

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Klassiek - Verschenen op 6 november 2019 | 2019 Grown In Media

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Orc

Elektronische muziek of Musique Concrète - Verschenen op 5 november 2019 | Elli Records

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Vocale muziek (wereldlijk en religieus) - Verschenen op 5 november 2019 | AMP Music & Records

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Symfonische muziek - Verschenen op 5 november 2019 | NYO Canada

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Elektronische muziek of Musique Concrète - Verschenen op 5 november 2019 | WORKHOUSEDIGITAL

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Klassiek - Verschenen op 1 november 2019 | Orfeo

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Klassiek - Verschenen op 1 november 2019 | Ondine

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Lars Vogt continues his series of concerto recordings with the Royal Northern Sinfonia with this new recording of Johannes Brahms’ (1833–1897) First Piano Concerto together with Four Ballades (Op. 10) for solo piano. As in previous albums, Lars Vogt conducts from the keyboard. The evolution of Brahms’ 1st Piano Concerto took several steps. Originally conceived to become a Sonata for Two Pianos through orchestration it was developed into a four-movement "Symphony" until reaching into its final form of a "Piano Concerto" in three movements. During the process, which lasted from 1854 to 1856, some movements were also discarded and replaced by new material. This music is packed with much drama. No wonder since these years were particularly tumultuous in Brahms’ personal life: it was during this period when his great mentor Robert Schumann was sent into an asylum and ultimately died. It was also time when Brahms formed a close, lifelong friendship to Clara Schumann. Some of these feelings might well be echoed in the peaceful second movement, Adagio. Brahms’ Four Ballades, Op. 10 are works written in 1854 by a young composer barely in his 20s, yet these pieces are technically mature and profound in such a manner that they could even be compared to his final piano opuses. © Ondine
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Kamermuziek - Verschenen op 1 november 2019 | Genuin

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We wonder whom we should admire the most: the composer Ludwig van Beethoven, who at the age of fifteen wrote such consummate, sparkling, and profound music, or the Hanover Piano Trio, which with violist Konstantin Sellheim has so immaculately recorded the young master’s quartets on this GENUIN release. The four internationally sought-after artists demonstrate a great understanding of historically-informed performance practice, dedicating themselves with panache and at a high level to an oeuvre that deserves more attention—perfect timing for the Beethoven anniversary year! © Genuin
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Klassiek - Verschenen op 1 november 2019 | CapriccioNR

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From the outset, Ernst Krenek stood between the sometimes antagonistic musical worlds of his mentor Franz Schreker, on the one hand, who wrote in the world of late Romanticism, and Arnold Schoenberg, on the other, who broke new ground. So, his own development towards becoming a unique personality in modern music history progressed correspondingly slowly. In his subsequent travelling years, as a composer he was on a quest for new means of expression, finally culminating in two such contrasting works as the jazz opera Jonny spielt auf and the technically strictly twelve-tone opera Karl V. Afterwards, he occasionally resorted to these earlier stylistic devices like we can hear on this recording as example of the 1927 composed Potpourrie and years later written Tricks and triffles (1945). © Capriccio
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Koormuziek - Verschenen op 1 november 2019 | Carus

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During his lifetime Hans Fährmann was known as “the Richard Strauss of the organ.” Today the compositions of this composer and organist, who was born in 1860 in Beicha, Saxony, are largely unknown. Frieder Bernius has now devoted himself to Fährmann's sacred vocal works and has found the SWR Vokalensemble to be the ideal partner for these late romantic a cappella works, whose demanding harmonies also demand professional ensembles. The SWR vocal ensemble has mastered this challenge brilliantly. For Frieder Bernius, a conductor always on the lookout for exciting choral literature, Fährmann’s compositions represent “an indispensable and very welcome enrichment of the late romantic repertoire.” How true! © Carus-Verlag
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Klassiek - Verschenen op 1 november 2019 | CapriccioNR

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In terms of style, with his works linked to basic tonalities Weigl drew on the sound realm of late Romanticism, from whose aesthetics he never departed in favour of more progressive contemporary trends. Whereas Weigl’s Symphony No. 1, written in 1908, associatively evokes the mood of a composer thinking of new territory and inquiring into the future, the dissimilar pair of his Symphonies No. 4 and No. 6 shows the musician’s intellect at historically distinctive periods, allowing an assessment to be made as to whether what could be expected, intended and hoped for at the time of his early works was achieved or whether it developed in an entirely different manner. The background to Symphony No. 4 in 1936 was the emergence of dictatorial Austro-Fascism. Symphony No. 6 of 1947 is in a certain sense a continuation and a conclusion following the end of the Nazi terror and a war that did not remain without profound changes and far-reaching effects for almost all the countries in the world. © Capriccio
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Klassiek - Verschenen op 1 november 2019 | Ondine

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Klassiek - Verschenen op 1 november 2019 | Kairos

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