Categories :

Albums

CD€ 13,49

Vocale muziek (wereldlijk en religieus) - Verschenen op 26 oktober 2018 | Warner Classics

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
HI-RES€ 18,99
CD€ 15,99

Piano solo - Verschenen op 5 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
HI-RES€ 16,99
CD€ 14,49

Klassiek - Verschenen op 5 oktober 2018 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
HI-RES€ 18,00
CD€ 11,99

Klassiek - Verschenen op 18 september 2018 | Channel Classics Records

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
"One of the biggest dilemmas of our generation is where are we from, who are we, what is our identity? Globalization has made the whole world closer, bringing our cultures more and more together. I myself am a product of this mix, being born in Mexico to Russian parents with a Jewish background, having studied at a French school in Norway and grown up in Holland. Consequently I have often thought about these questions: which culture is closest to me? What am I? I could feel at home and relate to all these cultures and yet I am not really part of any of them. The music on this album explores the opposite perspective; each piece is very strong influenced by the composer’s culture. One can immediately smell the Hungarian landscape in Bartok’s Viola Concerto, Italian roots in the Carnevale di Venezia, the Jewish soul in Bloch’s Nigun and Russian Orthodox chants in Kugel’s Preghiera. However there is a deeper meaning to the title of this album, as the programme also touches the spiritual and carnal nature of the human being. During the process of compiling this programme I suddenly realized the strong religious connection between the second movement of the Bartok concerto and the two prayers that follow. This is followed by the contrasting ‘danse macabre’ in the third movement, which for me is very much associated with the carnal ritual of a carnival, when one is allowed to release one’s most primitive instincts. I believe each of these pieces explores the deepest roots of humankind, that core that will be there, no matter where we go or what we do." (Dana Zemtsov) © Channel Classics
HI-RES€ 16,49
CD€ 10,99

Liederen (Duitsland) - Verschenen op 24 augustus 2018 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
HI-RES€ 17,99
CD€ 11,99

Klassiek - Verschenen op 22 juni 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
HI-RES€ 21,99
CD€ 18,99

Klassiek - Verschenen op 1 juni 2018 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
HI-RES€ 17,99
CD€ 13,49

Klassiek - Verschenen op 18 mei 2018 | Berlin Classics

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Founded in 2007, the Schumann Quartett (not to be confused with the Schumann Quartet made up of Christian Favre, piano, Tedi Papavrami, violin, Dorin Matea, viola and François Guye, cello) first studied with the Alban Berg Quartet, and then in Madrid with Günter Pichler. It's a story of three brothers, Erik, Ken and Mark Schumann who were born in Cologne to German, Romanian and Japanese parents, and who were joined by viola player Liisa Randalu. The career of this young ensemble got off to a flying start after they took first prize at the Bordeaux international string quartet competition. Taking full advantage of the esteem of great old artists, they also play chamber music with Menahem Pressler and Sabine Meyer. This third album is dedicated to Robert Schumann and takes the roads less travelled: such as a forceful and energetic version of the First Quartet as well as the Quartet Op. 12 (with its famous Canzonetta) by Mendelssohn, but also the Adagio zum Gedenken an Robert Schumann ("Adagio in memory of Robert Schumann") written in 2006 by Aribert Reimann, for the big festival in Düsseldorf that marked 150 years since the composer's death. Based on a Bach chorale that Schumann was in the process of harmonising for four players when he died in a psychiatric hospital near Bonn, this brief homage uses a modern-day language with quarter-tones and heart-rending dissonances which could well have come from Schumann's distempered mind. Aribert Reimann's instrumentation of the 6 Gesänge Op. 107 ("Six Songs") for soprano (the candid and moving Anna-Luisa Richter) and string quartet is a great find. © François Hudry/Qobuz
HI-RES€ 15,99
CD€ 13,49

Klassiek - Verschenen op 11 mei 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
HI-RES€ 17,99
CD€ 11,99

Operafragmenten - Verschenen op 4 mei 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
A record made up entirely of prologues from operas and baroque oratorios: this album isn't short on spice. Prologues are completely different from the – purely orchestral – overtures of later operas, as in the baroque era, after a short instrumental introduction, we'd get right into the action, often with a sung allegorical exposition of the setting and the story. Soprano Francesca Aspromonte and Enrico Onofri have collected these allegories with il pomo d’oro (the ensemble has decided that its name will be all lowercase), taken from the late 16th century with Monteverdi and Caccini up to the first quarter of the 18th century with Alessandro Scarlatti, via the rich beauty of the middle 17th century of Cavalli, Rossi, Stradella and Cesti. The listener will have to come to terms with the fact that the opera will never really start, that these are only the premises, the first tremblings, tantalising tasters, aimed at captivating the audience. Don't forget that in those days, it wasn't the custom to remain silent before the start of a show, and it took all the talents of the allegorist to finally get the fans' full attention. We reckon that Francesca Aspromonte will have no trouble captivating her audience. © SM/Qobuz
HI-RES€ 15,99
CD€ 13,49

Kamermuziek - Verschenen op 4 mei 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
HI-RES€ 16,99
CD€ 14,49

Klassiek - Verschenen op 6 april 2018 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
CD€ 13,49

Kamermuziek - Verschenen op 6 april 2018 | Warner Classics

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
HI-RES€ 17,99
CD€ 11,99

Klassiek - Verschenen op 16 maart 2018 | PentaTone

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
For the benefit of any Qobuz readers who might be offended that the Bach cantata Ich habe genug is sung here by a counter-tenor in the soprano register (rather than the normal bass), we want to point out two things: first, in the baroque era, music would be rewritten at the drop of a hat to fit the musicians who were available at a given time; and, secondly, this particular transposition was made by the Cantor himself! And what's more, he actually thoroughly revised two works... The short cantata Schlage doch, gewünschte Stunde was for a long time attributed to Bach before credit was finally given to its author Melchior Hoffmann: but it is testament to the work's tremendous quality that the mix-up was possible: its originality certainly gives the listener pause for thought. For one thing, the aria contains a glockenspiel section! Counter-tenor Bejun Mehta continues his exploration of the world of the baroque cantata with the superb Pianti, sospiri e dimandar mercede by Vivaldi, which brims over with invention and harmonic and melodic surprises. Handel's cantatas, on the other hand, were more directly written for amateur audiences, and therefore somewhat easier musically: whereas Bach never had to worry about selling his scores, Handel was very much preoccupied by sales! Berlin's Akademie für alte Musik provides a fervent accompaniment, and without a conductor, as they know this music like the back of their hands. © SM/Qobuz
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 9 maart 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Born 16 December 1923, today Menahem Pressler is, without a shadow of a doubt, the king of pianists, just as Mieczysław Horszowski was in the 1980s. Founder of the Beaux-Arts Trio, great and much-overlooked performer of French music, in his thirties he laid down some of the greatest recordings of Debussy (La Boîte à joujoux, Estampes, Suite bergamasque, Arabesques, La plus que lente, Rêverie) of the 1950s, for the American label MGM Records (but he also made several LPs dedicated to Prokofiev which are now completely forgotten, and the Histoires by Jacques Ibert...). Today, for Deutsche Grammophon, he has cast his mind back to that time when, standing on American soil, everything still lay ahead of him; and he has written a beautiful programme, largely centred around Debussy with the composer's greatest hits (Arabesques, Clair de lune from the Suite bergamasque, several Préludes from Livre I such as La fille aux cheveux de lin), finishing with Fauré (Barcarolle No. 6) and finally Ravel ( Pavane pour une infante défunte, Oiseaux tristes). Pressler is keeping alive another piano tradition, with his sound, his sense of style, and quite simply his spirit. His Clair de lune is full of this spirit, without ever falling into mawkishness, or losing its tone of softly-spoken confidence. But for pity's sake, Universal Music: re-release all of Pressler's solo pieces for MGM Records. Bringing back this inestimable and now-completely-inaccessible legacy would be a truly fitting tribute to this great artist. © Théodore Grantet/Qobuz
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 9 februari 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
No, no, we're not going to pretend that the repertoire chosen by the Austrian-Persian (the nationality stated on his website... born in 1992) cellist Kian Soltani and the Austrian pianist Aaron Pilsan is completely original: Schubert's "Arpeggione" Sonata, recorded a thousand and one times, and Schumann's Fantasiestücke form the backbone of the record. But what's really remarkable here is Soltani's career: the soloist made his big international breakthrough in 2011 at the age of 19, with triumphant débuts at the Vienna Musikverein, and then First Prize at the International Paulo Cello Competition in Helsinki in 2013. Shortly thereafter he joined Barenboim's West-Eastern Divan Orchestra, firstly as the first solo cellist, and then as one of the soloists in Beethoven's Triple Concerto and Strauss's Don Quixote still with Barenboim. Concerts followed in Berlin, the Salzburg and Lucerne festivals, and the BBC Proms, as a soloist or in a chamber ensemble. A brilliant career, off to a flying start. The album listing finds a touch of originality at the end, with Persian Folklore by the Iranian composer Reza Vali (b. 1952), a piece of writing inspired by Kodály's own translations of popular Hungarian music into classical language. © SM/Qobuz
HI-RES€ 16,99
CD€ 14,49

Klassiek - Verschenen op 9 februari 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
If the soprano Nuria Rial and the composer Bernat Vivancos feel an affinity with the legendary violoncellist Pablo Casals, it is not just because all three hail from Catalonia. Casals, who was obliged to flee his native country following the outbreak of the Spanish Civil War, ended each of the concerts that he gave in exile by playing El Cant dels Ocells (The Song of the Birds). Bernat Vivancos has arranged it especially for Nuria Rial and the eight cellists of the Sinfonie orchester Basel. In 2013 a violoncello octet was formed from the violoncello section of the Sinfonieorchester Basel that plays not only tangos and cinema classics but also commissioned works written specially for this unusual formation. Bernat Vivancos has dedicated Vocal Ice to Nuria Rial and the Cello Octet of the Sinfonieorchester Basel. Piazzolla’s suite The Four Seasons of Buenos Aires dates from 1970 and is scored for strings, piano, electric guitar and bandoneon. As its name implies, it is a counterpart to Vivaldi’s famous violin concertos here relocated to the southern hemisphere or, to be more exact, to Buenos Aires. Borrowings from Vivaldi’s The Four Seasons extend beyond the work’s title, for Piazzolla ends his Latin American Summer with a quotation from Vivaldi’s Winter. To date there have been countless arrangements of The Four Seasons of Buenos Aires, including one for eight violoncellos prepared by the British composer and violoncellist James Barralet in 2013. Piazzolla himself often performed the work with his various bands, rewriting it to suit the changing live conditions. Arguably the best-known composition by Villa-Lobos is the fifth Bachianas Brasileiras, which is notable for its use of dissonant suspensions reminiscent of Bach. In the first movement, written 1938, the soprano begins by performing a wordless vocalise to the accompaniment of four doubled violoncello lines. The emotionally charged middle section is a setting of a poem by Ruth Valadares Corrêa. At the end her humming suggests a senseof yearning. The second movement, with its hammering dance rythm, was not added until 1945. © SM/Qobuz
HI-RES€ 16,99
CD€ 10,99

Klassiek - Verschenen op 2 februari 2018 | Challenge Classics

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
HI-RES€ 15,99
CD€ 11,49

Kwartetten - Verschenen op 26 januari 2018 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - 5 Sterne Fono Forum Klassik
Two years after its very well received recording of three Schumann quartets, Quatuor Hermès – created about ten years ago – is turning its attention to three staple French masterpieces: Ravel and Debussy’s quartets (two iconic figures of their − relatively young − generation who have been coupled on disc again and again, but who would complain?) surrounding Dutilleux’s quartet Ainsi la nuit (Thus the Night). Three very unique quartets, as each of their composers only wrote a single one. For the record, Debussy’s quartet still belongs to the 19th century as it was composed in 1893 in a language formally borrowing from Franck (even if the chord progressions already feel like classic Debussy), while Ravel’s inaugurates the 20th century in 1903 with Faurean notes in abundance… On the other hand, Dutilleux waited to achieve maturity (1976) to write his. An inescapable monument of 20th French chamber repertoire, played with finesse and transparency by Quatuor Hermès, cementing their place among the elite quartets of our time. © SM/Qobuz
HI-RES€ 29,99
CD€ 19,99

Klassiek - Verschenen op 5 januari 2018 | BIS

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik

Genre

Opera in het magazine