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Duo´s - Verschenen op 6 mei 2016 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Qobuzism
Marie-Elisabeth Hecker made her entry into the ‘big leagues’ by winning first prize in the Rostropovich Competition in Paris back in 2005. Her international career was simultaneously launched on the back of this great success. Born in 1987 in Zwickau, the young cellist has studied with Steven Iserlis, Bernard Greenhouse and even Gary Hoffman. She has performed as a soloist with the Russian Symphony Orchestra, the Mahler Chamber Orchestra, the Kremerata Baltica, the Mariinsky Orchestra, the Philharmonia Orchestra, the Munich and Dresden Philharmonic Orchestras, the Staatskapelle Berlin, the Vienna Symphony Orchestra, Orchestre de Paris… the list goes on. Her experience has seen her work with conductors such as Yuri Temirkanov, Yuri Bashmet, Gidon Kremer, Valery Gergiev, Fabio Luisi, Marek Janowski, Emmanuel Krivine, Christian Thielemann or even Daniel Barenboim. Here, with her musical partner (and husband) pianist Martin Helmchen for their first duo album; the two musicians met at the Lockenhaus Festival at which time they performed another one of Brahms sonatas: Proust's Madeleine! More than twenty years separate the two sonatas for cello and piano, the first from 1862 – the composer had not yet turned 30 – and the second from 1886, by which time he had nothing left to prove to anyone. Hecker-Helmchen thoroughly master this repertoire. A coup for this first album as a duo. © SM / Qobuz
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Kamermuziek - Verschenen op 15 maart 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 19 februari 2016 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
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Duo´s - Verschenen op 17 september 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Duo´s - Verschenen op 5 april 2011 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Piano solo - Verschenen op 14 juni 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
Following a previous recording devoted to Mozart, François Chaplin has chosen Brahms' latest opus for solo piano: Rhapsodies Op. 79 and the intermezzi from Klavierstücke Op. 117 and Op. 118. The Rhapsodies, moving and powerful scores, express Brahms' sober melancholy. Far from his symphonic works, the interludes of Opus 117 and Opus 118, true miniatures, reveal the inner imagination of the composer. Brahms talks directly to the heart of the listener with his mature and sober poetry. Within these Klavierstücke, the interlude is a humble but generous genre where the musician gathers freely the fruits of his most intimate inspiration. These « lullabies of pain », as he called them, are composed during summer in the Austrian countryside, dear to this sturdy northern German. The emotion that emerges from it is all the more intense as it measures his artistic evolution. On this journey, François Chaplin brings out a soft poetry from a contained lyricism. © Aparté
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Duo´s - Verschenen op 6 december 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 7 juni 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 14 september 2018 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The violin sonatas of Johannes Brahms were the product of much self-critical reflection, and the three surviving works are from a composer mature in years. Composed around the same time as the Violin Concerto (No. 1), the Piano Trio in C Minor and the Cello Sonata No. 2 (Nos. 2 and 3), they also echo some of his songs, such as those written to poems by Klaus Groth. Into this Romantic atmosphere come new performances of the three works on Glossa, played by violinist Leila Schayegh (particularly awarded for her recordings of Bach, Caldara and Benda), teaming up here with pianist Jan Schultsz. Schayegh plays a copy of a period violin, whilst Schultsz uses an original 1879 Streicher instrument. The two players aim to recapture the performing tradition as the composer would have known it, and within which he would have intended his pieces to have been played. Schayegh and Schultsz worked with Clive Brown and Neal Peres Da Costa in their efforts to aim for “the spirit rather than the dead letter of the score” and they pay admirable notice of important interpretative questions for music of this time – and they provide an intuitive musical and emotional response to the lyricism of the first two sonatas and the darker-hued tones of the third, investing these late-nineteenth-century works. © Glossa
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Kamermuziek - Verschenen op 1 december 2017 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
Yes, yes, we know: Schumann's Piano Quartet and Brahms's Piano Quintet have been two of the the most-recorded pieces of chamber music for decades, and the discography boasts some runaway successes. So the four (or five, depending) soloists assembled here for the occasion are going to need to have something special up their sleeves! And they have: spirit, rugged romanticism, deep conviction - in a word, everything you need to add a beautiful stone to the Brahms-Schumann edifice. Pianist Yevgeny Sudbin has been acclaimed by the Daily Telegraph as "potentially one of the greatest pianists of the 21st century" - note the amusing caveat "potentially" - but one has to admit that he is making the most of this potential; violinist Hrachya Avanesyan took first prize at the prestigious International Yehudi Menuhin Competition in 2006, and then, two years later, at the International Carl Nielsen competition in Denmark. Violist Diemut Poppen studied with Kim Kashkashian, Yuri Bashmet, Frans Brüggen and Heinz Holliger, before launching into a particularly brilliant chamber music career... As the reader will have gathered, these musicians have got what it takes. © SM/Qobuz
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Kamermuziek - Verschenen op 9 februari 2018 | EPR-Classic

Hi-Res Booklet Onderscheidingen 5 de Diapason
The cellist Pieter Wispelwey and the pianist Paulo Giacometti have decided to record six albums comprising the complete works for duet of Brahms and Schubert. In other words, the pieces written for an instrument and piano. The instrument in question could be the cello, or the violin, the viola, etc. Because can a virtuoso cellist really resist the temptation to dip their toes into other repertoires than their own? After all, we know full well that the composers themselves wouldn't hesitate to transcribe, or authorise a transcription, of their own work for other instruments. And so here is the fourth volume of this collection, which hinges on Brahms's Sonate Op. 78, which was first written for violin in G major, here transcribed into D major by Paul Klengel in 1897; as well as the First Sonata, originally for clarinet Op. 120, by the very same Brahms. Of the latter work, we know that the composer himself transcribed it for the viola, and this transcription formed the basis for Pieter Wispelwey's own re-reading - very close to the viola part, within which he has simply transposed certain uncomfortably high passages down an octave. By way of overture we have Schubert's Rondo in B minor (1826), written for violin and piano, here brought down an octave (or two) for cello, although the change doesn't make any difference at all to the harmonic perception. © SM/Qobuz
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Kamermuziek - Verschenen op 4 maart 2011 | harmonia mundi

Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 1 februari 2012 | Claves Records

Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 1 januari 1997 | Claves Records

Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 30 september 2014 | Claves Records

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 23 maart 2018 | Odradek Records

Hi-Res Onderscheidingen 5 de Diapason