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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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Volledige opera's - Verschenen op 18 oktober 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The remarkable Hypermnestre by Charles-Hubert Gervais is the latest unremembered early 18th-century French opera to be recorded afresh for Glossa, and conducted by György Vashegyi. Gervais was a contemporary of Campra and Destouches, learning from Lully and paving the way for Rameau and, like Marais and François Couperin, open to the Italianising trends of “les goûts réunis”. A high-quality libretto from Joseph La Font tackles the story of Hypermnestra which proved so popular in the early eighteenth century. The Glossa recording contains both the original fifth act and the major revision of it from 1717 and Vashegyi drives the whole tragedy expertly to its bitter (and not-so-bitter!) end. Musically, this “tragédie lyrique” provides powerful opportunities for the trio of leading characters, here taken by Katherine Watson (Hypermnestre), Thomas Dolié (Danaüs, her father) and Mathias Vidal (Lyncée, her betrothed), but they are ably supported by Juliette Mars, Chantal Santon-Jeffery, Manuel Núñez Camelino and Philippe-Nicolas Martin. No French opera of this time would have been complete without a generous helping of choral or instrumental music and Gervais – a master of melody, harmony and orchestration – serves these up in a dazzling set of divertissements and festive set pieces full of dances (including a massive passacaille); all this performed with great stylistic awareness and vivacity by Vashegyi’s Orfeo Orchestra and Purcell Choir. © Glossa
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Concerten voor klavier - Verschenen op 28 februari 2020 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
Jean-Efflam Bavouzet’s acclaimed series of piano concertos by Mozart reaches its fifth instalment. Concertos Nos. 5, 6, 8, and 9 are complemented by the overtures to Il sogno di Scipione, Lucio Silla, La finta giardiniera, Il re pastore, and Zaide. That all of these works were composed by Mozart between the ages of fifteen and twenty-five serves as a vivid reminder of his unique talents as a child prodigy: these are not childhood efforts but mature works. The Fifth Concerto was actually Mozart’s first, as Nos 1 – 4 are arrangements of works by other composers. As in the previous volumes, Bavouzet is partnered by Manchester Camerata and Gábor Takács-Nagy, all recorded in The Stoller Hall in Manchester. © Chandos
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Volledige opera's - Verschenen op 5 juli 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 2 augustus 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor klavier - Verschenen op 1 november 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
As one of the finest pianists of his era and an improviser of genius, Ludwig van Beethoven’s preferred vehicle for musical exploration was the piano. His earliest composition, from 1782, was a set of piano variations and he continued to compose for solo piano until the last years of his life. His interest in the concerto form diminished as his deafness forced him to retire from performing. Nonetheless, with his five piano concertos composed between 1788 and 1809, Beethoven not only achieved a brilliant conclusion to the Classical piano concerto, but also established a new model for the Romantic era: a sort of symphony with obbligato piano which remained a reference point well into the beginning of the twentieth. Ronald Brautigam has already recorded these seminal works with the Norrköping Symphony Orchestra, in acclaimed performances released between 2008 and 2010. Since then he has also released all of Beethoven’s solo piano music on the fortepiano to universal praise. When Brautigam now returns to the concertos, it is in the company of conductor Michael Alexander Willens and Die Kölner Akademie playing on period instruments. The same team has previously partnered him in an 11-disc survey of Mozart’s piano concertos and it is plain to hear that all involved clearly relish the opportunity to congratulate Beethoven on the eve of his 250th anniversary. © BIS Records
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Koormuziek - Verschenen op 5 juli 2019 | Carus

Hi-Res Booklet Onderscheidingen 5 de Diapason
A brilliant conclusion to the first Heinrich Schütz complete recording. With the "Psalmen & Friedensmusiken" (Psalms & Music for Peace), Hans-Christoph Rademann and the Dresdner Kammerchor bring this groundbreaking project to a magnificent close. The recording features mostly unknown, but particularly sumptuous and mostly multi-choral works, which Schütz wrote between 1618 and 1648 for important political occasions or thanksgiving celebrations. Groups of soloists and choristers create a colorful sound experience in interplay with strings, trombones, cornetts and viols. A truly worthy conclusion to this award-winning series. © Carus
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Kamermuziek - Verschenen op 6 september 2019 | CPO

Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Kamermuziek - Verschenen op 23 augustus 2019 | Solo Musica

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 30 augustus 2019 | Fanfare Cincinnati

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 11 oktober 2019 | SWR Classic

Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Kamermuziek - Verschenen op 19 juli 2019 | DOREMI

Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 15 november 2019 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason
Composed three centuries ago, Johann Sebastian Bach’s set of six works for solo violin stands as one of the holy grails of the instrument’s literature – perhaps the holiest. Now the great Austrian musician Thomas Zehetmair makes his own mark in the rich history of this music, revisiting the repertoire on period instruments. Zehetmair is an extraordinary violinist and a consistently inquisitive and self-questioning artist. He has not only played the big concertos but has given close attention to chamber music and new repertory, and has also found an extra calling as a conductor, channeling this varied experience into his return to the formidable cornerstone of Bach’s solo masterpieces. As a young man Zehetmair worked with Nikolaus Harnoncourt in his period ensemble, working with him to prepare for his first recording of the sonatas and partitas on a modern instrument. For this new recording, he draws out exquisite colours from two violins from Bach’s lifetime, both of them by masters in the German tradition, but there is nothing antiquarian in his approach – old instruments, for him, are tools with which to express a modern sensibility: alert, edgy, multivalent. His performance engages, too, with the superb acoustic of the priory church of St Gerold, in Austria where so many legendary ECM recordings have been made. Peter Gülke, in his accompanying essay, refers to the “floating spirituality” of this music, and to how Bach here offers one side of a conversation with the performer, whom he leaves free to determine matters of dynamic shading, phrasing and bowing. Zehetmair brings vividness and intelligence to the conversation on a recording that, deeply steeped in the music and true, is at the same time powerfully original. © ECM New Series
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Cello solo - Verschenen op 6 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
The cello has always been favoured by French musicians, ever since its invention in the 1660s in Italy, where it gradually supplanted the viola da gamba. Two Parisians, the Duport brothers, wrote the first sonatas for the new instrument and published an Essai sur le doigté (Essay on Fingering) which laid the foundations of cello technique. It is still a touchstone work today. And so, the "French cello school" conquered the world, with, in the 20th Century, figures like Maurice Maréchal, Pierre Fournier, André Navarra, Paul Tortelier and Maurice Gendron: and today it is doing if possible even better, as many new talents hatch. An heir to this long line and herself a radiant and warm character, Emmanuelle Bertrand is passionate about all music: she worked on Tout un monde lointain with the composer (Dutilleux), and is inspiring and creating new works. For this recording, she has chosen a baroque cello, with gut strings, and a 415 Hz tuning. Here it is the instrument that sets the agenda, not the performer. She has discovered a new freedom in this approach to the pages that she has played, like all cellists, since her childhood. Matured over long years, her performance of Six Solo Cello Suites crystallises perfectly around this fine Venetian instrument of the early 18th Century. © François Hudry/Qobuz
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Wereldlijke vocale muziek - Verschenen op 25 oktober 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
 Much gossip has surrounded the double murder committed by Carlo Gesualdo, who killed his young wife and her lover when he caught them in flagrante delicto. The remorse he felt for this atrocious crime is said to have inspired the Neapolitan composer to write new harmonies, using and abusing scraping and characterful chromatisms. Paul Agnew takes aim at this widespread belief, contending that "this aristocratic double murder only indirectly influenced the musician's life." In a very interesting introductory text, the "Associate Musical Director" of the Arts Florissants sets the figure of Gesualdo back into his historical context, explaining just how his tormented psychological state would have fed into his own musical evolution, alongside the musical journeys of his peers. The same line of argument is also made by musicologist Denis Morrier in his analysis of the two first Books of Madrigals, which are presented here: "At once visionary and conservative, eccentric in language and conventional in form, these works have fascinated musicians and commentators across the ages", he writes.Following the recording of 17 madrigals from Book IV to Book VI, conducted by William Christie in 1988, this new album marks the first stage of a complete recording of Gesualdo's Madrigals, which are to be performed across three seasons at the Philharmonie de Paris. Passionate, violent, dark and burning with meaning, Gesualdo's music touches the heart and speaks to us of the doubts and contradictions of the human soul. © François Hudry/Qobuz
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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 10 januari 2020 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
It has been a long time, and probably stretching all the way back to the now-distant, legendary concerts led by Carlos Kleiber in 1989 and 1992, since we have enjoyed a New Year's Concert of such quality. With the Latvian Andris Nelsons (known and liked by the Philharmoniker) conducting, this first concert of 2020 had a fluent elegance, a rhythmical verve which was both light and implacable, and a kind of song that allowed the Viennese strings to show off their incredibly silky texture and profound depth. Andris Nelsons is clearly very much at ease with this repertoire, and brings a very refined approach to this novel programme. Hits sit alongside lesser-known pieces, including Beethoven's Contredanses kicking off the German’s anniversary year with a bang. Nelson gleefully swaps his baton for a trumpet, his favourite instrument, and gets stuck into the Postillon Galop by the "Danish Johann Strauss", Hans Christian Lumbye. This original programme brings us Knall und Fall, a rapid polka from Eduard Strauss, Cupido, a delightful French (slow) polka by Josef Strauss and Joseph Hellmesberger's Gavotte and some other tasty Viennese treats making it into the New Year's Concert for the first time. The ebullient audience was also very keen to hear some more conventional favourites: and no-one was disappointed by the stunning rendition of the famous Tritsch-Tratsch-Polka, played at a diabolical pace, with phenomenal virtuosity from these Viennese musicians, who remain the unchallenged masters of this repertoire. © François Hudry/Qobuz
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Kwartetten - Verschenen op 25 oktober 2019 | Supraphon a.s.

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Piano solo - Verschenen op 24 mei 2019 | Le Palais des Dégustateurs

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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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