Albums

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Sacred Oratorios - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Month - Choc de Classica
€ 18,00
€ 11,99

Klassiek - Verschenen op 1 maart 2019 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
€ 15,99
€ 13,49

Cantates (wereldlijk) - Verschenen op 23 november 2018 | Erato

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Choc de Classica - 5 Sterne Fono Forum Klassik
€ 18,99
€ 15,99

Liederen (Duitsland) - Verschenen op 16 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
Very different from Schubert’s Lieder, which are chants according to German “popular” tradition (usually strophic) with a musical accompaniment subservient to the singing (taking nothing away from their incredible genius!), Schumann’s are, to use Christian Gerhaher’s words, “lyrical dramaturgy”; miniature operas in which the piano and vocals are equal in content. This doesn’t explain why Schumann’s Lieder are so rarely performed in concert, with the exception of some well-worn cycles (normally Myrten, Dichterliebe and Frauenliebe und –leben). Gerhaher and his pianist Gerold Huber pick works from the genre’s ample repertoire that have almost never been performed in concert. Only three cycles date back to the “Liederyear” of 1840 (incidentally the year of his marriage to Clara Wieck), while the others are from the composer’s last years, beyond 1850, and are full of nostalgia… This is far from the dishevelled romanticism of his early years, the mood is dark and the discourse broken up into small brushstrokes. The contrast from one era to the other is striking. Gerhaher and Huber perform these surprising marvels brilliantly. © SM/Qobuz
€ 44,99
€ 29,99

Opera - Verschenen op 26 oktober 2018 | SDG

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
Il ritorno d’Ulisse in patria by Monteverdi poses a lot of problems for modern performers. There exists no definitive manuscript – although one may doubt how much people bothered back then with "definitive" versions of works which were re-written from one performance to the other, depending on the singers and instrumentalists that were on hand, the tastes of this or that star, the diktat of the Church – and the only copy dating from the composer's time, discovered in Vienna in 1881, is incomplete. When we try and compare this manuscript with different copies of the libretto which are still around today, the difficulties only increase. For this recording by Sir John Eliot Gardiner and the English Baroque Soloists, recorded live at concerts in September 2017, the decision was taken to fill in everything that could be filled in with a few passages borrowed from earlier works by Monteverdi. The Return of Ulysses dates from 1640, when Monteverdi was 74 years old, so there was a lot to choose from for these fillers. This version is almost certainly the closest approximation we have to the original yet, the singers have worked hard to give the most accurate reproduction possible of the vocal inflections demanded by the various formats employed by Monteverdi. These inflections are often very declamatory and sometimes sung to the fullest. The recitations and the melodies, the ensembles and the choirs: everything is treated with the utmost care and the effort put into contrast and clarity only enhances the quality of this recording. A magnificent rendition. © SM/Qobuz
€ 21,49
€ 14,99

Viool solo - Verschenen op 5 oktober 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
€ 18,00
€ 11,99

Klassiek - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Gramophone Editor's Choice - Hi-Res Audio
€ 20,49
€ 17,49

Symfonische muziek - Verschenen op 10 augustus 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Exceptional sound - 5 étoiles de Classica
If Leonard Bernstein was one of the greatest conductors from the second half of the 20th Century, his interpretation job never outshone his composer one. But the durable and worldwide success of West Side Story has often irritated him, as it left in the shadowed the rest of his abundant and varied catalog. Antonio Pappano has had the good idea to gather the three symphonies from Bernstein in a single album recorded in several concerts in Rome with his Orchestra dell'Accademia Nazionale di Santa Cecilia, which reaches under his baton an international dimension. Bernstein had a special relation with this institution that he has frequently conducted. Jeremiah, Bernstein’s first symphony, dates from 1944. Bernstein was 26 and wrote it the same year as his first ballet for Broadway, Fancy Free.He blends genres in a way that is now typical of him, disturbing many timorous music lovers who don’t understand that this dichotomy is the result of his genius. This first symphony sung in Hebrew denounces the horror of the Holocaust in Europe. 1949 is the year of The Age of Anxiety, his strange second symphony inspired by a long and difficult poem by W. H. Auden. Rarely played because of his difficult solo piano section that few interprets possess in their repertoire, this symphony is a succession of “themes and variations”. If the beginning flirts with the European Art music, notably from Prokofiev, it ends in a syncopated sentimentalism in the style of the great Hollywood movies. The excellent pianist Beatrice Rana (who has recorded for Warner Classics a very exciting Second Concerto by Prokofiev with the same conductor, as well as, more recently, the most talked-about Goldberg Variations by J. S. Bach) is here a brilliant and convinced performer of the work. Written in 1963 and dedicated to President Kennedy, Kaddish, his third symphony, is probably the most personal work of this trilogy. Heterogeneous as is all Bernstein music, it goes together with a text written by him that caused a scandal because of his iconoclastic arrogance, as Bernstein is giving advice to God to better rule mankind… Unsatisfied with his text, the composer did several revisions of his work to give it the form that is mostly used today. © François Hudry/Qobuz
€ 35,96
€ 23,96

Volledige opera's - Verschenen op 2 mei 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Record of the Month - Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
The story of the Pêcheurs de perles [Pearl Fishers] by Bizet is nothing short of torturous: after its first outing in 1863, the score – whose manuscript is now in private hands and no longer available, alas – fell into obscurity, and was only returned to its rightful place in the sun after the composer's death, once Carmen had made his name. Alas – a thousand times, alas – many different theatre directors took themselves for great geniuses and made little amendments to the work, cutting here, adding there, changing bits up to and including the end. Until the 1960s, this calamitously cack-handed version was the one that was performed – this libretto looks a little flat, why not add a few mistakes? – until musicologists stumbled across the original documents, in particular the cut-down version by Bizet himself, as well as the "conductor's score" of the time, which contained many notes about orchestration. This version, put together in 2014 by Hugh MacDonald, is sung by the flower of great French lyrical music – Julie Fuchs, Florian Sempey, Cyrille Dubois and Luc Bertin-Hugault – and returns as closely as possible to the original version of the work, so that the listener will encounter a number of big surprises, and good surprises too: additional numbers, several melodic and dramatic developments: almost a whole new score. © SM/Qobuz
€ 14,99
€ 9,99

Concerten voor viool - Verschenen op 13 april 2018 | Ondine

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Gramophone Record of the Month - Exceptional sound - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Today, Finland is one of the richest musical countries on Earth. Thanks to the exceptional quality of its musical teaching it produces numerous composers, conductors and artists who perform all over the world. The very rich catalogue of the dynamic Finnish publisher Ondine contains several recordings of the German violinist Christian Tetzlaff (Sonatas and Partitas for Solo Violin) by Bach, Mozart's sonatas, Trios by Brahms, concertos by Mendelssohn, Schumann and Shostakovich); and the Finnish conductor Hannu Lintu (Sibelius, Mahler, Enescu, Berio, Messiaen, Lindberg, Melartin), but it is their first record together. Bartók's two Violin Concertos were written thirty years apart, for two virtuosos. While the Second Concerto in the form of variations on a theme that develop ingeniously across three movements, has been well-known for a long time, the first remained unheard for years. Written as a declaration of love for the Hungarian-Swiss violinist Stefi Geyer, for whom Bartók had fallen, it was a secret kept by the dedicatee: it was only long after the composer's death that the violinist let Bartók's patron and close friend, the conductor Paul Sacher, know about the work. He would see that it was performed, with Hansheinz Schneeberger, but only in 1958. Bartók's two concertos, essential parts of the repertoire for violin and orchestra would enjoy a well-deserved resurgence in interest among a younger generation of violinists – the recording of the same works by Renaud Capuçon for Warner came out a few weeks ago. This new version, magnificently recorded, carefully explores all the orchestral richness, in perfect dialogue with Christian Tetzlaff's outstanding violin. © François Hudry/Qobuz