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Concertmuziek - Verschenen op 6 maart 2020 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Concertmuziek - Verschenen op 28 februari 2020 | Claves Records

Hi-Res Booklet Onderscheidingen 5 de Diapason
The wealth of music composed for the viola in the 20th century almost lets one forget the dearth of it in the 19th, which brought forth only two solo works of note: Hector Berlioz’s Harold in Italy, a concerto commissioned by Paganini that sidelines the viola so much he refused to play it; and Richard Strauss’s Don Quixote, in which the solo viola is relegated to the part of the Don’s sidekick Sancho Panza. Sidelined and sidekicked – the viola’s fate seemed a fulfilment of the oft-quoted line from Quantz’s sometime flute treatise that “the viola is largely regarded among musicians as being of little significance”. It was only really in the 20th century that composers realised that the viola’s status of an in-between instrument could actually be to its advantage. It’s bigger than a violin, but tuned like a cello, and is both warmer in tone than the former, and much more agile than the latter. The viola then had the good fortune to become the preferred instrument of several important composers. Ralph Vaughan Williams (1872-1958) briefly toyed with going professional on it; Paul Hindemith (1895-1963) went the whole hog and made a living from it in the Amar Quartet and as a soloist; and Benjamin Britten (1913-1976) too was a violist, though he kept his public performing activities to the piano and the podium. The viola was also lucky in having several fine virtuosi in the 20th century, most notably Lionel Tertis (1876- 1975) and William Primrose (1904-1982). Primrose had commissioned Bartók’s (unfinished) Viola Concerto in 1945, and it was for him that Britten wrote his Lachrymae for viola and piano in 1950. This is a series of “reflections”, i.e. variations, on a song by the Elizabethan composer John Dowland entitled “If my complaints could passion move”. The song’s melody is heard in the bass line after a few bars in the first variation, but only becomes properly recognisable at the end of the tenth and last. Meanwhile, another Dowland song has also infiltrated the texture – variation No. 6 refers back to Dowland’s more famous song “Flow my tears”, which had originated in his “Lachrymae pavan” – hence Britten’s title. He composed it during a break in work on his opera Billy Budd, and gave the first performance with Primrose at the Aldeburgh Festival in 1950. Britten then scored the work for viola solo and string orchestra in the spring of 1976, just months before he died. © Chris Walton/Claves Records
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Concerten voor viool - Verschenen op 7 februari 2020 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
Violinist Fabio Biondi has a singular capacity for finding something new and exciting in the music of Antonio Vivaldi whenever he considers it, a prodigious feat which he demonstrates with "Concerti per La Pietà", a new collection of works calling for a variety of demanding solo challenges, superbly met by Biondi and his colleagues from Europa Galante. In his Venetian years the well-spring of Vivaldian inventiveness was fed by the composer working with one of the leading orchestras of early eighteenthcentury Europe: the one at the Ospedale della Pietà, the charitable institution which took in, cared for – and educated – girls who had been orphaned or abandoned. Within the ospedale were nurtured instrumental virtuosos – known today only by their “sporting nicknames”: Bettina della viola, Margherita del arpa doppia, Lucieta della tromba, etc. Calling variously for solo violin, two violins, lute, cello, organ, or viola d’amore (Biondi plays an unreconstructed 1758 Vinaccia instrument), the concertos recorded here are drawn from across the thirty years in which Vivaldi worked at the ospedale. The freshness and personalness of Fabio Biondi’s musicmaking with Europa Galante has itself now been in evidence for a remarkable three decades and this new Album, conceived as a special 30thanniversary recording, won’t disappoint listeners ready to have their preconceptions challenged yet be stimulated by consummate musicianship. © Glossa
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Kamermuziek - Verschenen op 7 februari 2020 | CPO

Booklet Onderscheidingen 5 de Diapason
Thirteen years ago, Federico Gugliemo and his L’Arte dell’Arco (The Art of the Bow) already payed tribute to the Florence-born violinist and composer Francesco Maria Veracini. In the 17th century, Veracini was considered as the prime violinist of his time, overpassing Corelli, Tartini or Vivaldi. Veracini achieved outstanding success in London as a violinist for the Queen’s Theatre. He lived in Dresden where, challenged by rival musicians, he jumped out of a window. Arrived lame in Prague where he stayed for a short period, he then moved back to London. But on its way to Britain, Veracini‘s ship sank in the middle of the Channel. The composer was saved and fled to Florence, where he lived a safer life writing sacred music and working as kapellmeister. Conducted by Federico Gugliemo and recorded in 2018 in the dry acoustic of Este’s Cabinet de lecture (library), the album includes series of openings, (suites), sonatas, and a Violin Concerto in D major performed by Gugliemo. © François Hudry/Qobuz
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Symfonische muziek - Verschenen op 7 februari 2020 | Halle Concerts Society

Hi-Res Booklet Onderscheidingen 5 de Diapason
Thus Sir Mark Elder finishes his Sibelius collection, just as the very young Finnish conductor Santtu-Matias Rouvali begins his own with Alpha, already distinguishing himself with the surprising weight and recurring hesitations of his second volume. None of that with Elder, who admittedly suffers from a slightly too uniform sound recording but who stands out with the exactness of his tempos and his refined balances. Sir Mark Elder offers versions that are classic and fluid, with a real organic tension and a sense of lyricism, especially in the medium registers (Symphony N°4, III. Il tempo largo). Sir Mark Elder knows how to harness the energy that is unique to this orchestra with this repertoire, which has become something of a favourite ever since Barbirolli permanently established it in 1940 before recording irrevocable versions for His Master’s Voice between 1966 and 1969, a discography that has never been surpassed. Sir Mark Elder is less interested in the (certainly fascinating) flare-up of Sibelius’ modernity than his predecessor, favouring a calmer internal pulse that often draws comparisons with Bruckner and Wagner for example. He doesn’t however dilute the features that make Sibelius so remarkable, like the ostinato patterns that we have not heard so hauntingly in a long time (in the Symphony N°4 again). As for the Symphony N°6... you can practically hear it smiling. The sound is joyous, even playful (III. Poco vivace), never falling into the cold tones that we hear all too often. A magnificent vision, closing a milestone anthology which Sibelius fanatics should ensure they don’t miss. © Pierre-Yves Lascar/Qobuz
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Liederen (Engeland) - Verschenen op 7 februari 2020 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
From John Dowland’s 17th century lute music to more recent, refined and intellectual rethinking of the genre in the 20th century, Great Britain has had a long tradition of writing “songs”. For her new album, with pianist Joseph Middleton, English soprano singer Carolyn Sampson has chosen a series of pieces composed within the last 120 years. She has willingly decided to exclude from the repertoire well-known musicians, such as Britten and Tippett, whose compositions have often been recorded. This pleasant album begins and ends with Walton. The first track, a piece of occasional music, is full of Walton’s slightly mistimed nonchalance. It portrays different aspects of life in London. The record’s last tracks, however, were selected from Façade, an Erik Satie (and Les Six)-influenced composition which scandalized the city when it was first performed in 1923 and boosted the composer’s career. Also featured in the record is a myriad of musical skits from Ralph Vaughan Williams, Frank Bridge, Roger Quilter and Huw Watkins, whose Five Larkin Songs were commissioned by Carolyn Sampson. © François Hudry/Qobuz
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Symfonische gedichten - Verschenen op 7 februari 2020 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 7 februari 2020 | Decca

Onderscheidingen 5 de Diapason
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Vocale muziek (wereldlijk en religieus) - Verschenen op 7 februari 2020 | Solo Musica

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor klavier - Verschenen op 31 januari 2020 | Odradek Records

Hi-Res Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 24 januari 2020 | Warner Classics

Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 17 januari 2020 | Melism

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonieën - Verschenen op 17 januari 2020 | CSO Resound

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Religieuze vocale muziek - Verschenen op 10 januari 2020 | Solo Musica

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor klavier - Verschenen op 3 januari 2020 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Symfonische muziek - Verschenen op 3 januari 2020 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 3 januari 2020 | CPO

Booklet Onderscheidingen 5 de Diapason
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Wereldlijke vocale muziek - Verschenen op 3 januari 2020 | CPO

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 3 januari 2020 | CPO

Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 3 januari 2020 | Anima-Records

Onderscheidingen 5 de Diapason