Albums

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Religieuze vocale muziek - Verschenen op 25 januari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 5 oktober 2018 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
€ 9,99

Klassiek - Verschenen op 18 mei 2018 | Accent

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
To illustrate the diversity and richness of the sound of transverse flutes of the baroque era, Frank Theuns has chosen three different instruments, each one adapted to the particular style and tonalities of each of the Venetian works presented here. For the famous concerto La Notte and the Concerto in C minor by Vivaldi, he opts for a copy based on the Turin soprano flute by Palanca from the 1730s; the soprano flute or tierce flute is a flute which sounds a minor third higher than written, so in E flat, which favours tonalities of G minor and C minor (respectively two and three flats to the key, for those readers who remember their conservatory days...). For Galuppi and Vivaldi RV 440, he prefers a copy of a Venetian flute by Castel from the 1740s. Finally, for the Concerto Op. 9 No. 2 by Albinoni, initially written for the oboe, he goes for a French flute in the style of Hotteterre, with a rich and ample sound. Let the listener strain their ears to pick out the differences, often very fine, between one flute and another; this repertoire, written between the 1730s and 1770s, presents Venetian art in all its glory. Theuns is accompanied by the Les Buffardins ensemble, a string quintet which is supplemented by a continuo provided by harpsichord or theorbo. © SM/Qobuz
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Operafragmenten - Verschenen op 23 februari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice - Diamant d'Opéra Magazine - Choc de Classica - 5 Sterne Fono Forum Klassik
With his ensemble Pygmalion, Raphaël Pichon has written the listing for this album in the form of a "pastiche" of a Mass for the Dead, a Requiem both sacred and profane. While it is a long way from having all the defining traits, it does possess all the outlines: Introit, Kyrie, Gradual, Sequence, Offertory, In Paradisum... The idea came about after a recent discovery, in the Bibliothèque Nationale of an anonymous requiem mass from the 18th century, in which the writer constructed a "parody" based on musical extracts from Castor and Pollux and the Fêtes de Paphos by Jean-Philippe Rameau. Note that the term "parody" doesn't necessarily imply satire or mockery: it refers to the practice of taking up older music and setting new words to it. This fusion of sacred music (the mass) and profane music (lyrical tragedy), a common practice during the Enlightenment, was a procedure that Pichon wanted to take up. In French society at the time, when Catholicism was the norm, where the political system was monarchical rule by divine right, the representation of ancient pagan Hell on theatrical stages seemed to betray a fascination in the beliefs of the ancients. And so this programme melds together pagan fable with a Christian imaginary, where Hell takes on different faces. It is the place of unjust and eternal torment, a place of privation where a couple is separated, one half kept in Hades. But, in the lyrical tragedy, Hell is also a place of perdition: obscure forces unleashed in Sabbath rites, a Satanic vision which unearths the darkest depths of the human soul... Stéphane Degout is the author of this tragedy, bringing together such varied characters as Phaedra, Pluto, and the Parcae. The composers whose music is put to use are Rameau and Gluck, with a single borrowing from Rebel: it would have been a shame not to mention his singular Chaos (taken from Éléments), which starts with a dissonant chord containing the seven notes of the scale of D minor. © SM/Qobuz
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Kamermuziek - Verschenen op 2 februari 2018 | Genuin

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Klassiek - Verschenen op 19 januari 2018 | Accent

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Much is known about the special and particular circumstances surrounding the composition of Mozart’s Requiem. 1791 was a tumultuous year, and before Mozart’s life was cut short at the start of December he had composed, among other works, Die Zauberflöte, La Clemenza di Tito, the Clarinet Concerto and evidently this Requiem, although it was left in an unfinished state. Arthur Schoonderwoerd presents this work as a complete “Missa da Requiem” in its liturgical context, with Gregorian chant, and adds a newly composed “Amen” by Schoonderwoerd himself and a “Libera me” by Ritter Ignaz von Seyfried (both world premiere recordings). The starting point of this recording is the performance of a Requiem Mass as it would have sounded in Vienna around 1800 – i.e. in a scoring which Mozart could possibly have visualised. The vocal part is sung by the soloists of the Gesualdo Consort Amsterdam, well-known for their recordings of the complete vocal music of J. P. Sweelinck. © Accent
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Klassiek - Verschenen op 2 januari 2018 | Nibiru

Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 17 november 2017 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
€ 14,99
€ 9,99

Symfonische muziek - Verschenen op 6 oktober 2017 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or - Exceptional sound - 5 Sterne Fono Forum Klassik
Vaughan Williams’ seventh symphony (1951), Sinfonia Antartica, reuses numerous materials from the stunning piece the composer wrote in 1948 for the film Scott of the Antarctic. Therefore none will be surprised by the extraordinarily visual orchestration and theme, which any listener – even ignoring the title or cinematographic influence – will immediately associate with vast windy flatlands, scintillating icy lights, Antarctica in all its splendour – and dangers, as Scott’s expedition ended tragically, that’s the least one can say. As a complement to the programme, the Bergen Philharmonic Orchestra (where they are used to the great cold!) and Andrew Davis provide us with Vaughan Williams’s Concerto For Two Pianos: initially created in 1933 for a single piano, the work was adapted to two pianos in 1946 in light of the tremendous difficult piano part, and the composer also took the opportunity to change a few sections. Here it is performed by two Canadians, Louis Lortie and Hélène Mercier. And finally you’ll discover the Four Last Songs sung by Roderick Williams, a kind of Vaughanwilliamsian equivalent to Strauss’ own Four Last Songs, even though Vaughan Williams’ four songs were first orchestrated after his death, by Anthony Payne in 2013 – scrupulously following the composer’s orchestral habits. A beautiful musical testament, created during the last few months of his life. © SM/Qobuz
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Kamermuziek - Verschenen op 6 oktober 2017 | dB Productions

Onderscheidingen 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
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Klassiek - Verschenen op 25 augustus 2017 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
The fact that Tomás Luis de Victoria was born in 1548, 27 years after Josquin des Prez’s death, must not lead the listener to assume this album presents “disparate” works of a composer from the early Renaissance on the one hand and of a second composer from the late Renaissance on the other. In those times, composers’ works were passed around – often as tablatures for lute and vihuela music – and most importantly, each interpreted them according to their own ideas (particularly because tablatures were unobtrusive regarding rhythms), their instrument’s abilities, and depending on whether they performed alone or in support of a singer… This CD offers a personal interpretation of the works of Victoria and Josquin, as imagined by the voices of singers John Potter and Anna Maria Friman, as well as the vihuelas of Ariel Abramovich, Lee Santana and Jacob Heringman. In order to better highlight the vividness of language in the Renaissance, the latter offers us half a dozen small instrumental “Preludes” scattered across the album, that he improvised in the style of the time, using snippets, accents, suggestions, turns as they were then used. Here is an excellent overhaul of the very concept of “historical authenticity”, as it always remains closely related to the time, instruments, instrumentalists, and the thousands of layers of possible interpretations of Renaissance music. © SM/Qobuz
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Klassiek - Verschenen op 12 mei 2017 | Naxos

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 21 april 2017 | Carpe Diem

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
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€ 9,99

Klassiek - Verschenen op 24 maart 2017 | Musique en Wallonie

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
€ 9,99

Klassiek - Verschenen op 17 februari 2017 | Pan Classics

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
€ 16,99
€ 14,49

Operafragmenten - Verschenen op 3 februari 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
€ 21,49
€ 14,99

Klassiek - Verschenen op 3 februari 2017 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
€ 14,49

Klassiek - Verschenen op 3 februari 2017 | deutsche harmonia mundi

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
€ 14,99
€ 9,99

Klassiek - Verschenen op 3 februari 2017 | Genuin

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
€ 9,99

Klassiek - Verschenen op 20 januari 2017 | CPO

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik

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Opera in het magazine