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Balletten - Verschenen op 1 maart 2019 | Chandos

Hi-Res Booklet Onderscheidingen 5 de Diapason
In this fascinating recording the legendary Neeme Järvi explores two lesser-known French ballets by Sauguet and Ibert, complemented by the Ballet Suite from Massenet’s opera Hérodiade. Sauguet studied composition with Canteloube and Koechlin. He wrote in a variety of genres, notably for radio and for film, but his ballet scores – more than twenty of them – were central to his output. Les Forains (‘The Showfolk’) was first performed at the Théâtre des Champs-Élysées in March 1945. The cast was led by the work’s brilliant young choreographer, Roland Petit, and conducted by André Cluytens. Sauget’s wide-ranging influences, notably the orchestration of Richard Strauss as well as the works of Satie and les Six, give his work a flowing, openly melodic style that is immediately appealing and full of wit and charm. Following the success of Les Forains, and the formal establishment in October 1945 of Les Ballets des Champs-Élysées, Roland Petit and Boris Kochno devised a number of new ballets for the company. One of these was Ibert’s Les Amours de Jupiter, premiered on 9 March 1946 with a cast led by Petit himself as Jupiter. © Chandos
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Concerten voor blaasinstrumenten - Verschenen op 8 februari 2019 | Sony Classical

Hi-Res Onderscheidingen 5 de Diapason
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Missen, passies, requiems - Verschenen op 30 november 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason
Messa per Rossini is a Requiem Mass resulting from the assembly of thirteen parts written by thirteen different composers. Shortly after Rossini's death in 1868, Verdi addressed Ricordi: "To honour the memory of Rossini I would wish the most distinguished Italian composers to compose a Requiem Mass to be performed on the anniversary of his death. I would like no foreign hand, no hand alien to art, no matter how powerful, to lend his assistance. In that case, I would withdraw at once from the association. If I were in the good graces of the Holy Father, I would beg him to allow, at least this once, women to take part in the performance of this music, but since I am not, it would be best to find a person more suitable than I to achieve this end." The composition was completed in the summer of 1869, but the hearing was cancelled... due to sinister political disputes. Verdi resumed his own contribution, the Libera me conclusive, in a revised form for his own Requiem; the comparison of the two movements, the original for Rossini and the definitive for Verdi's Requiem, is a fascinating exploration of the Verdian laboratory and evolution. The other twelve composers have hardly passed the test of posterity, but it is extremely interesting to see what was then being done in the Italian sacred domain. The Mass for Rossini, which had fallen into oblivion, was only rediscovered in the 1970s and (re)created in 1988. Here we find Riccardo Chailly at the helm with the La Scala of Milan orchestra and choir as well as four leading Italian soloists. © SM/Qobuz
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Klassiek - Verschenen op 26 oktober 2018 | HORTUS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Koormuziek - Verschenen op 14 september 2018 | SWR Classic

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concerten voor viool - Verschenen op 27 april 2018 | Berlin Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason
Undesired babies, in this case little girls, were dropped off in the famous convent, conservatory and orphanage of the Ospedale della Pietà in Venice, where Vivaldi was a violin teacher and main composer for a long time. Many of these girls, once adults, became musicians and quite a few of them reached the highest level of recognition. For one of these pupils, by the name of Anna-Maria dal Violin (the “dal Violin” wasn’t her last name, but rather a nickname highlighting her ability as a musician), Vivaldi wrote twenty-five concertos, a shining proof of her tremendous mastery; to the extent that, it seems, people came from afar to listen to her perform. Listen only in fact, not see her, as young ladies had to play behind a screen so that it was impossible to have the slightest glimpse at their appearance. But Rousseau did manage to catch one in 1743: "If you are so desirous," said an ambassador to him, "to see those little girls, it will be an easy matter to satisfy your wishes. I entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love, which I had never before experienced. Mr le Blond presented to me, one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia − she was horrid. Come, Cattina − she had but one eye. Come, Bettina − the smallpox had entirely disfigured her. Violinist Midori Seiler, accompanied by the Concerto Köln, selected a nice handful of concertos written for the aforementioned Anna-Maria. Granted we’ll never know how she played, but one can get an idea of a few of her tendencies, as the young lady kept a musical journal in which she wrote a few variants for the second movement of the Concerto RV270a that can be heard here. In parallel, this selection also features a concerto by Galuppi and another by Albinoni, that are both in a similar vein, although they weren’t written for Anna-Maria. In tune with the custom/etiquette of the Ospedale, the Concerto Köln didn’t hesitate to add in the partition a few moments of woodwinds doubling on the chords: flutes, oboes and even chalumeau, the ancestor of the clarinet that Vivaldi himself used a few times in his concertos. © SM/Qobuz
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Klassiek - Verschenen op 6 april 2018 | Paraty Productions

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 17 november 2017 | HORTUS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 3 november 2017 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
RIAS − Rundfunk im amerikanischen Sektor – was the “Western” radio in Berlin between 1946 and 1993, serving as a cultural link between the two Germanys for decades. During that time, the RIAS recorded numerous musicians from across the world, including Jorge Bolet between 1962 and 1966 (in addition to a single track with Chopin’s Fantaisie-Impromptu in 1973): some three hours of recorded material covering a fair share of the massive repertoire of the notorious Cuban pianist at the height of his glory and career. These performances of course include works by Liszt and Chopin, numerous diabolically virtuoso pieces by Godowsky (of whom he was a disciple at the beginning of the 30s) and Moszkowski, as well as the two books of Debussy’s Préludes. An absolute delight for fans of the great gentleman pianist, particularly as all tracks, with no exception, come directly from the original RIAS matrices, re-mastered with the greatest care given to the sounds, polyphonic textures, contrasts and colours (especially for Debussy) the pianist magnificently conferred to everything he played. One can only regret that only three hours of Bolet exist in this higher quality. © SM/Qobuz
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Klassiek - Verschenen op 27 oktober 2017 | B Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
This is with a touching document that begins this album devoted, for the most part, to Apollinaire’s poems put into music by Poulenc: the poet reading his own “Le Pont Mirabeau” during a reception at the Théâtre de l’Athénée in 1911. This is in this very theater that the baritone Stéphane Degout, accompanied at the piano by Cédric Tiberghien—also joined by flutist Matteo Cesari and cellist Alexis Descharmes on Ravel’s Chansons madécasses—delivers a nice handful of cycles of Poulenc’s melodies, that is to say Le Bestiaire, Calligrammes, Banalités and Quatre poèmes, the top of the composer’s art in this domain. The album concludes with Ravel and his Histoires naturelles. Degout and Tiberghien of course know of the recordings made by Poulenc himself at the piano with Pierre Bernac, but they soon realized that the notes of the composer on his own partitions—that are often of a meticulous precision—don’t really reflect what he himself took the liberty to do; hence their very free interpretation, a true reappropriation of the partition, which brings a whole new reading to the work. © SM/Qobuz
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Vocale muziek (wereldlijk en religieus) - Verschenen op 13 oktober 2017 | Ad Vitam records

Hi-Res Booklet Onderscheidingen 5 de Diapason
2nd part of this unique choral triptych which will bring together approximately 48 works from the 20th and 21st centuries with considerable dramaturgical force, hitherto unseen in the history of choral experimentation, Jumala is a mystical and dreamlike vocal epic which gives pride of place to incantatory music, coming mainly from Northern Europe. A choral laboratory. made up of singers aged 18 to 30, Mikrokosmos boasts over 20 international awards and as many as 25 recordings, presenting multidimensional artistic projects brought to life by Loïc Pierre since 1989.
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Klassiek - Verschenen op 25 augustus 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason
One is Swiss – cellist Lionel Cottet, currently first soloist of the Bavarian Radio Symphony Orchestra – the other is from Mexico: pianist Jorge Viladoms, although his musical education also brought him to Switzerland… Bridging the gap between their respective continents, both young musicians invite the listener to discover Latin American gems interacting freely with Parisian creations. Needless to say that these works (or composers) have not been subjected to or incorporated transatlantic influences, but merely represent a skilful juxtaposition of two major pieces on the one hand – Debussy’s Sonata “opposed” to Manuel Ponce’s, both contemporary masterpieces, respectively from 1915 and 1917 – and shorter works on the other, namely miniatures by Villa-Lobos, Ginastera and Piazzolla for Latin America, and Fauré, Massenet, Ravel and Saint-Saëns for Paris. While Debussy’s Sonata needs no introduction, it’s a different story for Ponce’s. Written in Havana, it was inspired by Cuban folklore for one of its movements, but resolutely turns to Spain for another, and… to Paris and Debussy in its last movement, with a slight humorous and baroque touch in the final fugue. An album with a highly unique blend indeed. © SM/Qobuz
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Kamermuziek - Verschenen op 10 maart 2017 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 10 maart 2017 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Kwartetten - Verschenen op 24 februari 2017 | RCA Red Seal

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 24 februari 2017 | HORTUS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Operafragmenten - Verschenen op 17 februari 2017 | Orfeo

Hi-Res Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 10 februari 2017 | Ricercar

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
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Klassiek - Verschenen op 4 november 2016 | Ligia

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Vocale muziek (wereldlijk en religieus) - Verschenen op 14 oktober 2016 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama

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Opera in het magazine