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Klassiek - Verschenen op 19 mei 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
What was the context in which so great a masterpiece such as Monteverdi’s L’Orfeo could be born back in 1607, invested with such beauty, endowed with such profundity of expression and so perfect a structure, at a time when the operatic form was still in its infancy? These are precisely the questions that lie at the origin of this recording project, giving Pichon and his musicians the opportunity to discover the astonishing musico-dramatic productions that preceded L’Orfeo, notably those performed at the Medici court in Florence, in which one may discern the seeds of numerous elements to be found in L’Orfeo. At the turn of the 16th and 17th centuries, it was ovbviously the city of the Medici that was the main focus of one of the most fascinating moments in the history of music: the birth of opera. Concentrating on the years from 1589 to 1611, i.e. the premiere of the intermedi for theatre piece called La pellegrina at one end and the performance in Florence of Marco da Gagliano’s Dafne at the other, Pichon has devised four imaginary “interludes” – inspired by the form of the intermedio so popular at this period – in which he assembled some of the finest examples of the first stirrings of opera, the music pieces of which are signed Lorenzo Allegri, Antonio Brunelli, Giovanni Battista Buonamente, Giulio Caccini, Emilio de’ Cavalieri, Girolamo Fantini, Marco da Gagliano, Cristofano Malvezzi, Luca Marenzio, Alessandro Orologio, Jacopo Peri and Alessandro Striggio. In imitation of the ancient theatre, intermedi were entertainments inserted between the acts of plays, with sumptuous visual effects, which provided a pretext for allegories to the glory of the reigning dynasty. The place of music and the fantastic element in theatrical performances acquired an ever grander and more spectacular character, thanks notably to the genius of set designers and the progress made in the domain of stage machinery. Seeing the artistic and political potential of the genre, the powerful princely families of the northern half of Italy (Gonzagas, Este and Medici, as well as the papal court), encouraged its development. Intermedi ended up occupying so important a place that they became a show within the show, with the aim of dazzling the audience. It was in 1589 that the Florentine tradition of intermedi attained its zenith, with the six sumptuous entertainments devised by Count Bardi to accompany the comedy La pellegrina, performed on the occasion of the wedding of Grand Duke Ferdinando I and Princess Christina of Lorraine, grand-daughter of Catarina de’ Medici. In their variety and novelty, with a balanced combination of polyphony and the nascent monody, not forgetting instrumental and dance music, the intermedi of 1589 opened the way for an integrally sung form of theatre. And indeed it was once again Florence that witnessed the first examples of the Gesamtkunstwerk, the perfect model of the alliance between poetry and music. At the turn of the 16th and 17th centuries, a veritable laboratory was set up in Florence, prompting poets and composers to bring together several forms of musical expression in a single place? Building on the models established by earlier generations, composers continued their experiments with sound-space and the spatialisation of music, what with the proliferation of echo effects in the early monodies, or madrigals featuring dialogues between as many as seven independent choirs. But how can one tell this story nowadays, revive this rich adventure? The solution chosen for this recording was to create from scratch a large-scale imaginary work, resembling an initiatory journey, that would weld these multiple works into a single whole.
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Symfonieën - Verschenen op 16 juni 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Record of the Month - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Volledige opera's - Verschenen op 22 juni 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Qobuzism - 5 Sterne Fono Forum Klassik
Why yes, it is still possible to discover Bernstein scores, or in this case the chamber version of A Quiet Place, adapted by Garth Edwin Sunderland, conducted and recorded for the first time by Kent Nagano, at the Montreal Symphony House. The final stage score by the American composer, first performed at the Houston Grand Opera in 1983, it was revisited by the librettist Stephen Wadsworth, and the composer who added several fragments from the one-act piece Trouble in Tahiti, from 1951; this addition would see two new performances (the Scala in Milan, and Washington). Another draft – this one definitive – was performed at the Vienna Opera House, conducted by the composer, in 1986. Fascinating in more ways than one, rather like a modern-day Intermezzo by Strauss, the work depicts American society by way of an existential crisis faced, first by one couple, (Trouble in Tahiti) and then by one family. Bernstein borrowed from Mahler for the structure, with a final movement whose "grave nobility" recalled the final movements of the Third and NinthSymphonies by his much-admired forebear. As is often the case with this composer, Bernstein's mix of styles (jazz, chorale, Broadway, Mahler, Berg, Britten, Copland…) provides an explosive cocktail, which has about it more of a musical conversation than grand opera – and, paradoxically, that's what makes this work so unique... And so charming. This is well worth a re-discovery, this time under the baton of Bernstein's faithful former pupil, Kent Nagano, at the head of top-flight solo singers, who point the way to that "quiet place", where "love will teach us harmony and grace". © Franck Mallet/Qobuz
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Volledige opera's - Verschenen op 29 juni 2018 | Nonesuch

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Opera - Verschenen op 22 september 2014 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diamant d'Opéra Magazine - Choc de Classica - 5 Sterne Fono Forum Klassik
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Concerten voor klavier - Verschenen op 10 november 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 23 mei 2015 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 6 oktober 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
First you think : “here we go... yet agaaaaain another recording of Chopin’s two concertos”, then you read ‘world premiere’ in the description. Surprising, isn’t it? And yet, this is the truth, the whole truth, and nothing but the truth! This world premiere is describing the brand new orchestrations realised by Mikhail Pletnev. These re-orchestrations give prominence to the much more chamber-like aspect of the accompaniment, which admittedly is a little pale and formulaic in the version that we’ve known for almost two centuries. Pletnev has moderated the music score, thinning out some parts while not changing a single note: the piano part remains the same, and in the orchestra nothing changes apart from the instrumental assignation. In addition to those two concertos that are much more colorful, the pianist Daniil Trifonov offers us a handful of tributes to Chopin by his peers and successors: Schumann, whose admiration for the Polish composer wasn’t reciprocated, Grieg, Barber and Tchaikovsky, and most of all Mompou’s splendid series of Variations on a Theme of Chopin. New from old, but always for the best we won’t hasten to add. © SM/Qobuz
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Volledige opera's - Verschenen op 15 maart 2019 | CPO

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
As a casual victim of circumstances – jealousy, denigration and low blows − Johann David Heinichen’s opera Flavio Crispo was never performed during its composer’s life; during repetitions in Dresden, insults flew back and forth between him and some Italian singers, which led the piece to be removed from the programme and never completed. Although in reality, only a few pages of music are missing from the integral score... Consequently, this is the first discographic publication of the opera, with the complete music composed in 1720. It reveals a composer at ease in both the sharp and complex language of Germanic tradition, and the formal and vocal freedom of Italian opera – which Heinichen had studied closely during a long stay in Venice. There, he met the Elector of Saxony (Frederick Augustus II of Saxony) and future King of Poland (Augustus III of Poland), who hired him to his court in Dresden, at the time one of the largest hubs in European culture. Heinichen soon took up the torch from Antonio Lotti who had composed Italian operas for the court of Dresden for a few years, and his Flavio Crispo was meant to be his contribution to the genre. But unlike Lotti, Heinichen called upon a highly-flavoured orchestra: horns, oboes, flutes, in addition to strings and continuo, and winds to which he gives a fair amount of highly-virtuosic movements. Unfortunately for the composer, he was never able to hear his masterpiece, as the King of Poland dismissed the few Italian singers who had risen up against the partition under a futile pretence; no one else was able to sing these roles, and the score fell into obscurity. This was until it was rediscovered and showcased by the ensemble Il Gusto Barocco and its music director Jörg Halubek, in a 2015 live recording. At long last, Herr Heinichen! © SM/Qobuz
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Trio´s - Verschenen op 23 september 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 25 november 2016 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 17 april 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 12 oktober 2018 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 1 januari 2014 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 27 oktober 2017 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
The Swiss cellist (and composer) Thomas Demenga (*1954) is an artist on the world stage who defies classification: at once at ease in the most groundbreaking contemporary performances - we owe him many recordings of Cage, Holliger, Messiaen, Yun, Pärt, Zimmermann etc. – and in the classical repertoire, from Bach to Schubert, from Vivaldi to Mendelssohn, from Dvořák to Tchaikovsky. This is his completely new reading of Bach's Suites, which he gives with an immense, almost-improvisational freedom, even if he respects the texts to the letter: it is all in the accents, the rubatos, the articulations and the phrasing that he gives his imagination free rein, as if the ink wasn't even yet dry on these master-works. We are a long way, here, from some "cleaner", more "classic", "polished" readings from some great predecessors. But in reality, this music is sufficiently rich and ample to be seen from a thousand angles without losing any of its shine. Demenga, a disciple of Rostropovitch, Antonio Janigro and Leonard Rose, has entered a kind of pantheon, where he can bear comparison with any number of the greats. The deliberately rather low range which he has chosen lends greater depth and an uncharacteristically darker tone to his readings. © SM/Qobuz
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Klassiek - Verschenen op 10 augustus 2018 | Deutsche Grammophon (DG)

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
All these Penderecki works have been commissioned by Anne-Sophie Mutter and are duly dedicated to her (as well as to double bass player Roman Patkoló in the case of the 2010 Duo concertante for violin and double bass), this is thus doing them justice to gather them under the same helm. We go crescendo, from La Follia for solo violin from 2013, a series of variations, up to the Violin Sonata No. 2, « Metamorphosen » from 1995—conducted here by the composer himself—to the already mentioned Duo concertante and the Sonata for violin and piano from 1999. As so many composers from his era—let’s remember he was born in 1933—Penderecki has taken the “backward path”, starting as a composer in the path underlined by serialism, before straying away from it to come back to a much more melodic language, almost tonal and even sometimes Post-Romantic. For such a talented violinist as Anne-Sophie Mutter, fed with beauty and virtuosity, these works represent both an endless renewal and a constant challenge, while allowing her to develop her sonority and her passionate lyricism. Let’s note that these Metamorphosen have been recorded in 1997, and the partition’s ink had barely had time to dry. Incidentally, the other recordings have all been close to the writing date, underlining the emotional and artistic closeness of the two characters. © SM/Qobuz
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Klassiek - Verschenen op 1 juni 2018 | Warner Classics

Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 15 april 2016 | Universal Music Italia srL.

Hi-Res Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 4 januari 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 25 september 2015 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik