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Elektronische muziek of Musique Concrète - Verschenen op 28 december 2019 | P M G Records

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Klassiek - Verschenen op 1 januari 2019 | Brilliant Classics

Booklet
Among the most talented violinists of his generation, Kristóf Baráti has made a string of recordings for Brilliant Classics that have been highly recommended across the board. Fanfare magazine’s reviewers have favourably compared his recordings of Korngold (BC95006) to that of Heifetz and Beethoven (BC94310) to that of Mutter, lavishing praise on his long-standing artistic partnership with his fellow Hungarian Klára Würtz. ‘For those who don’t equate depth with unattractive mannerisms, Baráti and Würtz will seem to make a journey that traces Beethoven’s development more successfully than do, say, Mutter with Lambert Orkis… Their geniality makes listening to the whole set highly palatable as well as instructive. Urgently recommended.’ Baráti and Würtz now turn their attention to a classic trio of Francophone violin sonatas from the turn of the last century. César Franck’s Belgian origins and Wagnerian leanings hardly obscure the French accent of the Violin Sonata which he composed towards the end of his life, and in it distilled the essence of his long-range harmonic thinking. The sonata’s lucid cyclical form leads the listener on a journey of restrained passions, yet still far more overt in its passions than the sonata composed by the ailing Debussy in the middle of the First World War. This is a work riven by outer sickness and conflict, yet sustained from within by an enduring love for another age of French composers such as Rameau and Couperin. Debussy’s Sonata breathes with the spirit of another age, whereas Ravel’s contribution to the genre is bang up to date – the date in question being the mid-1920s – with its flavours of jazz and blues. The second movement is ‘stylised jazz, more French than American,’ according to the composer, while the frantic perpetuum mobile finale continues his fascination with intricate, machine-like structures, in which the violinist plays for 180 consecutive bars. All three sonatas require the most assured technique and refined musicianship, which they receive in this new recording from Kristóf Baráti. © Brilliant Classics
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Klassiek - Verschenen op 27 december 2019 | Brilliant Classics

Booklet
Any cellist seeking new repertoire, and any listener in search of Romantic cello sonatas beyond Brahms, will alight upon this album with enthusiasm. Although Mario Castelnuovo-Tedesco (1895-1968) studied under Ildebrando Pizzetti (1880-1968) at the Conservatoire in Florence during the early years of the 20th century, their paths diverged when the Jewish Castelnuovo-Tedesco had to emigrate to the US in 1938. Back in 1921, Pizzetti had composed a Cello Sonata thematically unified across its three movements, with an ‘agitated andanguished’ Scherzo at its heart, while the slow outer movements translate elements of medieval chant and polyphony into soulful meditations. Three years later he composed a cycle of Tre Canti – three songs more commonly encountered in the version for violin and piano but better suited to the pitch and expressive range of the cello, so closely moulded to that of the human voice. And these really are ‘songs without words’ – by turns affectionate, tender and impassioned. The younger Castelnuovo-Tedesco was more concerned to establish a mood than to tell a story in his instrumental music, and the first movement of his Cello Sonata from 1928 is an object example of his tendency to face both backwards and forwards, artistically speaking, so that he can evoke Romanticism while simultaneously casting doubt upon its certainties and view them from an anxious distance. The album is rounded off with the delicious fantasy on the Largo al factotum and Un voce po’ fa from Il barbiere di Siviglia which Castelnuovo-Tedesco composed in two versions, for Jascha Heifetz and Gregor Piatigorsky, having emigrated and become a fixture on the Hollywood musical scene. Since 2015, Amedeo Cicchese has been principal cellist for the Teatro Regio in Turin, appointed by Gianandrea Noseda, but he is an assiduous chamber musician who contributed to Brilliant’s survey of the music of Louise Farrenc (BC94815) as a member of the Quintetto Bottesini. © Brilliant Classics
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Klassiek - Verschenen op 27 december 2019 | Brilliant Classics

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Klassiek - Verschenen op 27 december 2019 | Claire Saint

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Klassiek - Verschenen op 27 december 2019 | Atom Music Audio

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Klassiek - Verschenen op 27 december 2019 | Editions Audiovisuel Beulah

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Klassiek - Verschenen op 27 december 2019 | Rehegoo AS Records

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Klassiek - Verschenen op 27 december 2019 | Blue Griffin Recording, Inc.

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Vocale muziek (wereldlijk en religieus) - Verschenen op 27 december 2019 | Orange Records

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Klassiek - Verschenen op 27 december 2019 | Blue Griffin Recording, Inc.

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Klassiek - Verschenen op 27 december 2019 | Tomáš Mach

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Klassiek - Verschenen op 27 december 2019 | Kazue Blackwell

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Klassiek - Verschenen op 27 december 2019 | Croatia Records

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Kamermuziek - Verschenen op 27 december 2019 | Mapa Records

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Klassiek - Verschenen op 26 december 2019 | EGM Entertainment SAS

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Klassiek - Verschenen op 26 december 2019 | Терем квартет

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Klassiek - Verschenen op 25 december 2019 | Janarth Dheenadhayalan

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Klassiek - Verschenen op 25 december 2019 | Epiphany Recordings Ltd.

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Koormuziek - Verschenen op 24 december 2019 | Oxford University Press Music

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