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Klassiek - Verschenen op 5 februari 2021 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 5 maart 2021 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason
After the critical success of her last two solo albums, Célimène Daudet comes back with her most personal project. "Haïti my love" is a passionate declaration to her Caribbean origins through the prism of her music and her little-known classical composers. Lamothe, Elie and Saintonge will know how to surprise you and take you on a musical journey that tells the rhythms, landscapes and colours of the country. Fascinated by Chopin, who influenced him a lot, Ludovic Lamothe was even nicknamed "the Chopin Noir" because of his dreamlike, deeply sensitive and lyrical music. So many unpublished gems just waiting to be shared and known! © nomadmusic
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Klassiek - Verschenen op 26 februari 2021 | NoMadMusic

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Missen, passies, requiems - Verschenen op 5 februari 2021 | harmonia mundi

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Faced with the plethora of Beethoven recordings released in 2020, we expect more from some than from others, and this applies to this Missa Solemnis. An absolute masterpiece of Western music, it is conducted by René Jacobs, whose recent recording of Leonore (the first version of the opera Fidelio by the same Beethoven) conquered the musical world.Composed in 1824, the Missa, "a rough and uncomfortable work that leaves no room for narcissism in the singers" according to René Jacobs (and he would know what he is talking about!) is an older sister to the Ninth Symphony which shares the same faith in man over divinity. Recorded in Berlin in May 2019, this version packs as intense a gut-punch as a live concert.The understated and profound Kyrie brings shadow and meditation. Then, a surging explosive Gloria, a stirring call for peace and brotherhood, from the heart of all humanity presses this splendid performance onward. Without doubt, the RIAS Kammerchor has added one more stone to an edifice of recordings of the highest quality. In addition we are treated to an instrumental finale rarely heard and four soloists who contribute to the expressive power of the whole. All of Beethoven is here, with his idealism, his tenderness, and also his way of hammering out peace with mighty blows. As Goethe would have said “He would squash a fly with a rock”. © François Hudry/Qobuz
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Klassiek - Verschenen op 5 februari 2021 | audite Musikproduktion

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The Concerti of the violinist-composer Francesco Venturini (c.1675-1745) are a real discovery - melodious, virtuosic, elegant and dance-like, combining Italian and French stylistic elements to form a "mixed taste", as Telemann described this "mélange". Inspired by the pulsating cultural and intellectual life at the Hanoverian court, Venturini wrote ambitious orches­tral music full of joie de vivre, defined by numerous concertato passages for both wind and string instruments. His works feature a rich diversity of - sometimes unusual - colours: as his concerto soloists, he chooses not only combinations of one or two oboes, recorders and violins, but also two bassoons and two cellos, or even an oboe, two recorders and violin - the latter being a combination reminiscent of J.S. Bach's Brandenburg Concertos which were to be written a few years later. The release marks the beginning of the collaboration between audite and la festa musicale. The ensemble presents a representative cross section of Venturini's instrumental music: three orchestral suites from Opus 1, which was already published in print during his lifetime, as well as two discoveries from Swedish music collections; three works are presented as first recordings (Op. 1 No. 2, Ouverture à 5, Concerto à 6). The North German baroque ensemble la festa musicale stands for first rate artistic level, which is reflected in creative, interdisciplinary concert formats and top-class collaborations. The interpretations intensify the colourfulness of the works by means of instrumentation variations beyond the original score, in line with the common practice in the Baroque period, as well as by additional effects such as the use of percussion instruments. Two further audite productions with la festa musicale are already being planned. © Audite
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Klassiek - Verschenen op 19 maart 2021 | Berlin Classics

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Following a highly personal and splendidly reviewed Brahms recording, Fabian Müller follows up with "Passionato", an album centring not on a single composer, but on a “central masterwork of Western piano music”: Beethoven’s “Appassionata”. Radiating from this hub, Müller weaves a programme that shows why he is regarded as one of Germany’s most promising young pianists. It stands to reason that he is not the first pianist to apply his energies to this great work laid out on the grand scale, and Fabian Müller is well aware of this. “Each generation is entitled to rediscover these pieces for itself. Apart from that, it is simply not possible to play a piece the same way twice. So even if I know my favourite performances back to front, mine will still be the Appassionata of Fabian Müller”. This is the starting-point of his new album, geographically as well as musically. Having grown up between the Beethovenhaus and Schumannhaus in Bonn, he sees “much more of the Rhinelander than the Viennese” in Beethoven, flanking the Appassionata with Schumann’s G minor Sonata – a work of extremes. When Schumann requires the artist to play “as fast as possible” in the first movement, then “even faster” in the coda, Müller has his own personal answer: “It is more a feeling that is too strong to be expressed in a ‘normal’ manner. Drop everything and play for your life. That is the key. A feeling that something is flooding out of you”. Fabian Müller has already proved that he knows how to make Brahms’s piano music his own. His two Rhapsodies give the pianist the impression “that they could melt their way through anything; because, without alarm, they are always so burning, pervasive and penetrating”. As his third counterpart to Beethoven alongside Schumann and Brahms, he selects a composer whose oeuvre represents another strand in his musical identity. Wolfgang Rihm and his Piano Piece No. 5 “Tombeau” cast another shaft of light on the musical interpretation of how human feelings are experienced: “Beethoven combines emotion with a very strong structure, Rihm with huge ruthlessness, Schumann with songlike rapture, and Brahms something else again”? In "Passionato", Fabian Müller presents an album that takes the interpretation of Romantic piano music to a new level. It must be authentic, on the human scale, like Fabian himself. He was studying in Pierre-Laurent Aimard’s piano class in Cologne at the age of 15, went on to play Germany’s great concert halls, and has since won the ARD Music Competition and the “Ton und Erklärung” Competition. It is noticeable that Fabian Müller speaks about music as clearly as he plays it. “After all, understanding a work means appreciating its appeal and being able to imagine what makes it worth hearing. I think that everyone can benefit enormously from that. And that is why I shall never stop loving music. And most important of all: never stop sharing that with as many people as possible”. © Berlin Classics
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Klassiek - Verschenen op 19 februari 2021 | Berlin Classics

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Klassiek - Verschenen op 5 februari 2021 | Berlin Classics

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With "Røta", her debut album at Berlin Classics, Ragnhild Hemsing presents her Norwegian roots on the violin and Hardanger fiddle, exploring her identity and the connection to her musical education. Central to this is the relationship between classical music and Norwegian folk music as well as the contrast between the different sounds of both instruments. In addition to works by well-known Norwegian composers, Ragnhild Hemsing has recorded four different folk melodies for Hardanger fiddle from her homeland for "Røta". "I find it very interesting to combine the repertoire of composers inspired by folk music and the traditions of their respective countries", Hemsing explains the selection of works chosen for this album. Ole Bull, Edvard Grieg, Johan Svendsen or Johan Halvorsen are Norwegian greats of the 19th century, whose music gives her the pleasant feeling of "being at home". Together with Mario Häring on piano and Benedict Kloeckner on cello, she embarks on a journey through her native world of sound. All composers represented on the album were also very attached to their homeland and were in exchange with each other. Thus Bull served as inspiration for Grieg, who in turn was a close friend of Halvorsen and Svendsen. The beauty of Norway, its characteristics and its landscape, can be heard and felt clearly in the music. A reflection of the mystical nature is expressed in Grieg's Lyrical Suite (Op. 54), with memories of gentle nights, hikes and finally the trolls' march. Halvorsen, who mastered the Hardanger fiddle well himself, was intimately familiar with folk music, which is reflected in the repertoire of this album. The Passacaglia, based on the theme of Handel, is probably his most famous work worldwide, arranged for Hardanger fiddle and cello by Tormod Tvete Vik (as all other arrangements). Common to all composers is the inspiration they found in folk music. As an exciting addition to the pieces by the above-mentioned composers, "Røta" also has four different traditional rhythms from Ragnhild Hemsing's homeland: a folk melody in the "Myllarguten" tradition, a "Springar" in 3/4 rhythm and a "Halling" in 2/4 rhythm, which comes from Valdres - the region where Hemsing grew up. The well-known folk song Allt under himmelens fäste ("Everything under the firmament") forms the conclusion of the album. Picturesque landscapes, melancholic melodies and the varied rhythmic characteristics of various dance melodies are an expression of Norway's special and traditional music - the music Hemsing is very fond of. © Berlin Classics
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Concertmuziek - Verschenen op 12 februari 2021 | Berlin Classics

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Kamermuziek - Verschenen op 26 februari 2021 | RUBICON

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Robert Kahn was born in Mannheim in 1865 and died in Biddenden, Kent in 1951. How did a composer who impressed Brahms, and who the older composer offered to give lessons to end up in the UK in a small village? Kahn became an influential professor of music at the Berlin Hochschule, and before that had his works performed by the Joachim Quartet, and the Berlin Philharmonic under Hans von Bülow. Kahn was a friend of Joachim, von Bülow, Adolf Busch and Richard Mühlfeld. His compositional style was along the lines of Mendelssohn, Schumann and Brahms, he was an admirer of Reger, whose contrapuntalism no doubt had an influence upon Kahn. He avoided large scale romantic forms, and became famed for his songs, choral works, chamber music and the huge Tagebuch in Tönen, (Music from the Tree of Life) a collection of solo piano works, suites for piano and lieder that run to over 1100 pieces. Things started to go wrong for Kahn with the rise of the Nazis. Branded ‘degenerate’ by the National Socialists, he was thrown out of his teaching positions, and in 1937 left for the UK, settling in Kent and composing right up to his death. This album is a fascinating introduction to a composer that political extremism and hatred tried and failed to erase. © Rubicon
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Klassiek - Verschenen op 5 maart 2021 | audite Musikproduktion

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Jean-Baptiste Dupont is one of the most renowned organists of our time. His artistic prowess is reflected in his success at international competitions as well as his performing career across the globe. Trained in the French organ tradition, both in interpretation and improvisation, his new recording of Widor’s 8th Organ Symphony combines this tradition with the sound-world of a Cavaillé-Coll organ: the instrument at Saint-Sernin (Toulouse) seems to be custom-made for the most complex work by Widor who confessed that without the experience of listening to the Cavaillé-Coll instruments he would not have written any organ music. Jean-Baptiste Dupont is deeply rooted in the heritage of the French music tradition. His extensive expertise as an improviser leads to a particular state of consciousness within music: when interpreting repertoire works, he grasps and analyses the creative structures of the work on a deep level; in the moment of the performance, he experiences them like an improviser – the creative process of the composer becomes his own when he plays. © Audite
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Klassiek - Verschenen op 19 maart 2021 | Berlin Classics

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Klassiek - Verschenen op 22 januari 2021 | Artistfy Music

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Klassiek - Verschenen op 2 februari 2021 | iMD-Maison bleue

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Klassiek - Verschenen op 29 januari 2021 | Klarthe

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Elektronische muziek of Musique Concrète - Verschenen op 5 maart 2021 | Last Resort

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Klassiek - Verschenen op 26 februari 2021 | Klarthe

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Committed to creating links between existing repertoire and music of our time, to juxtapose works of the past with those of today in order to better communicate to listeners the continuity and unity of music, the chamber music ensemble Des Equilibres had the idea of commissioning works from three composers; Nicolas Bacri, Graciane Finzi and Philippe Hersant, three works which echo the Sonatas for violin and piano by Brahms (1833-1897), sonatas which are as brilliant as they are different from each other. A perfect occasion to generate new environments and soundscapes. © Klarthe
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Klassiek - Verschenen op 19 februari 2021 | Dutch Music Works

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Kamermuziek - Verschenen op 19 maart 2021 | Galileo Music Communication

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Klassiek - Verschenen op 27 januari 2021 | iMD-Rinaldi & Rinaldi Produzioni