Albums

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Klassiek - Verschenen op 3 mei 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
€ 33,58
€ 23,98

Klassiek - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Record of the Month
€ 18,00
€ 11,99

Klassiek - Verschenen op 1 maart 2019 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
€ 15,99
€ 13,49

Cantates (wereldlijk) - Verschenen op 23 november 2018 | Erato

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Choc de Classica - 5 Sterne Fono Forum Klassik
€ 18,99
€ 15,99

Liederen (Duitsland) - Verschenen op 16 november 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
Very different from Schubert’s Lieder, which are chants according to German “popular” tradition (usually strophic) with a musical accompaniment subservient to the singing (taking nothing away from their incredible genius!), Schumann’s are, to use Christian Gerhaher’s words, “lyrical dramaturgy”; miniature operas in which the piano and vocals are equal in content. This doesn’t explain why Schumann’s Lieder are so rarely performed in concert, with the exception of some well-worn cycles (normally Myrten, Dichterliebe and Frauenliebe und –leben). Gerhaher and his pianist Gerold Huber pick works from the genre’s ample repertoire that have almost never been performed in concert. Only three cycles date back to the “Liederyear” of 1840 (incidentally the year of his marriage to Clara Wieck), while the others are from the composer’s last years, beyond 1850, and are full of nostalgia… This is far from the dishevelled romanticism of his early years, the mood is dark and the discourse broken up into small brushstrokes. The contrast from one era to the other is striking. Gerhaher and Huber perform these surprising marvels brilliantly. © SM/Qobuz
€ 44,99
€ 29,99

Opera - Verschenen op 26 oktober 2018 | SDG

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
Il ritorno d’Ulisse in patria by Monteverdi poses a lot of problems for modern performers. There exists no definitive manuscript – although one may doubt how much people bothered back then with "definitive" versions of works which were re-written from one performance to the other, depending on the singers and instrumentalists that were on hand, the tastes of this or that star, the diktat of the Church – and the only copy dating from the composer's time, discovered in Vienna in 1881, is incomplete. When we try and compare this manuscript with different copies of the libretto which are still around today, the difficulties only increase. For this recording by Sir John Eliot Gardiner and the English Baroque Soloists, recorded live at concerts in September 2017, the decision was taken to fill in everything that could be filled in with a few passages borrowed from earlier works by Monteverdi. The Return of Ulysses dates from 1640, when Monteverdi was 74 years old, so there was a lot to choose from for these fillers. This version is almost certainly the closest approximation we have to the original yet, the singers have worked hard to give the most accurate reproduction possible of the vocal inflections demanded by the various formats employed by Monteverdi. These inflections are often very declamatory and sometimes sung to the fullest. The recitations and the melodies, the ensembles and the choirs: everything is treated with the utmost care and the effort put into contrast and clarity only enhances the quality of this recording. A magnificent rendition. © SM/Qobuz
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Viool solo - Verschenen op 5 oktober 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month
€ 18,00
€ 11,99

Klassiek - Verschenen op 10 september 2018 | Channel Classics Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Gramophone Editor's Choice - Hi-Res Audio
€ 20,49
€ 17,49

Symfonische muziek - Verschenen op 10 augustus 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Exceptional sound - 5 étoiles de Classica
If Leonard Bernstein was one of the greatest conductors from the second half of the 20th Century, his interpretation job never outshone his composer one. But the durable and worldwide success of West Side Story has often irritated him, as it left in the shadowed the rest of his abundant and varied catalog. Antonio Pappano has had the good idea to gather the three symphonies from Bernstein in a single album recorded in several concerts in Rome with his Orchestra dell'Accademia Nazionale di Santa Cecilia, which reaches under his baton an international dimension. Bernstein had a special relation with this institution that he has frequently conducted. Jeremiah, Bernstein’s first symphony, dates from 1944. Bernstein was 26 and wrote it the same year as his first ballet for Broadway, Fancy Free.He blends genres in a way that is now typical of him, disturbing many timorous music lovers who don’t understand that this dichotomy is the result of his genius. This first symphony sung in Hebrew denounces the horror of the Holocaust in Europe. 1949 is the year of The Age of Anxiety, his strange second symphony inspired by a long and difficult poem by W. H. Auden. Rarely played because of his difficult solo piano section that few interprets possess in their repertoire, this symphony is a succession of “themes and variations”. If the beginning flirts with the European Art music, notably from Prokofiev, it ends in a syncopated sentimentalism in the style of the great Hollywood movies. The excellent pianist Beatrice Rana (who has recorded for Warner Classics a very exciting Second Concerto by Prokofiev with the same conductor, as well as, more recently, the most talked-about Goldberg Variations by J. S. Bach) is here a brilliant and convinced performer of the work. Written in 1963 and dedicated to President Kennedy, Kaddish, his third symphony, is probably the most personal work of this trilogy. Heterogeneous as is all Bernstein music, it goes together with a text written by him that caused a scandal because of his iconoclastic arrogance, as Bernstein is giving advice to God to better rule mankind… Unsatisfied with his text, the composer did several revisions of his work to give it the form that is mostly used today. © François Hudry/Qobuz
€ 22,49
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Symfonische muziek - Verschenen op 4 mei 2018 | Signum Records

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - 5 étoiles de Classica
€ 35,96
€ 23,96

Volledige opera's - Verschenen op 2 mei 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Record of the Month - Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
The story of the Pêcheurs de perles [Pearl Fishers] by Bizet is nothing short of torturous: after its first outing in 1863, the score – whose manuscript is now in private hands and no longer available, alas – fell into obscurity, and was only returned to its rightful place in the sun after the composer's death, once Carmen had made his name. Alas – a thousand times, alas – many different theatre directors took themselves for great geniuses and made little amendments to the work, cutting here, adding there, changing bits up to and including the end. Until the 1960s, this calamitously cack-handed version was the one that was performed – this libretto looks a little flat, why not add a few mistakes? – until musicologists stumbled across the original documents, in particular the cut-down version by Bizet himself, as well as the "conductor's score" of the time, which contained many notes about orchestration. This version, put together in 2014 by Hugh MacDonald, is sung by the flower of great French lyrical music – Julie Fuchs, Florian Sempey, Cyrille Dubois and Luc Bertin-Hugault – and returns as closely as possible to the original version of the work, so that the listener will encounter a number of big surprises, and good surprises too: additional numbers, several melodic and dramatic developments: almost a whole new score. © SM/Qobuz
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€ 9,99

Concerten voor viool - Verschenen op 13 april 2018 | Ondine

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Gramophone Record of the Month - Exceptional sound - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Today, Finland is one of the richest musical countries on Earth. Thanks to the exceptional quality of its musical teaching it produces numerous composers, conductors and artists who perform all over the world. The very rich catalogue of the dynamic Finnish publisher Ondine contains several recordings of the German violinist Christian Tetzlaff (Sonatas and Partitas for Solo Violin) by Bach, Mozart's sonatas, Trios by Brahms, concertos by Mendelssohn, Schumann and Shostakovich); and the Finnish conductor Hannu Lintu (Sibelius, Mahler, Enescu, Berio, Messiaen, Lindberg, Melartin), but it is their first record together. Bartók's two Violin Concertos were written thirty years apart, for two virtuosos. While the Second Concerto in the form of variations on a theme that develop ingeniously across three movements, has been well-known for a long time, the first remained unheard for years. Written as a declaration of love for the Hungarian-Swiss violinist Stefi Geyer, for whom Bartók had fallen, it was a secret kept by the dedicatee: it was only long after the composer's death that the violinist let Bartók's patron and close friend, the conductor Paul Sacher, know about the work. He would see that it was performed, with Hansheinz Schneeberger, but only in 1958. Bartók's two concertos, essential parts of the repertoire for violin and orchestra would enjoy a well-deserved resurgence in interest among a younger generation of violinists – the recording of the same works by Renaud Capuçon for Warner came out a few weeks ago. This new version, magnificently recorded, carefully explores all the orchestral richness, in perfect dialogue with Christian Tetzlaff's outstanding violin. © François Hudry/Qobuz
€ 12,74€ 14,99
€ 8,49€ 9,99

Kamermuziek - Verschenen op 6 april 2018 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
€ 21,49
€ 14,99

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

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Record of the Month - Le Choix de France Musique - Choc de Classica
Oh no, no, no: this is absolutely not a re-release of one of the many recordings which Murray Perahia made of Beethoven over the decades. This here is something completely new, made in 2016 and 2017, of two radically contrasting sonatas: the Fourteenth of 1801, which Rellstab nicknamed "Clair de lune" in 1832, while Beethoven merely dubbed it Quasi una fantasia, and the Twenty Ninth of 1819, Große Sonate für das Hammerklavier, written after several barren years. Perhaps, consciously or not, Perahia has coupled two works, one "before" and the other "after" - after all, he himself has known his fair share of fallow years, following a hand injury which removed him from the stage from 1990 to 2005. Whether or not it's true, it's certainly tempting to imagine. Either way, like Beethoven, Perahia made a storming return, as shown in this recent performance, in which vigour alternates with moments of intense introspection, always impeccably phrased and articulated, and deeply musical. Clearly all those years in which he concentrated almost exclusively on the works of Bach as a training regime while he waited for recovery seem to have in fact been immensely fruitful. © SM/Qobuz
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€ 9,99

Symfonische muziek - Verschenen op 2 februari 2018 | BR-Klassik

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Record of the Month - Le Choix de France Musique - 5 étoiles de Classica
€ 31,99
€ 27,99

Volledige opera's - Verschenen op 24 november 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Year - Gramophone Award - Gramophone Record of the Month - Victoire de la musique - 4 étoiles de Classica
We will gladly forgive the occasional "weakness" in sound technology in this recording of Troyens by Berlioz (recorded live in concert in April 2017). In light of the first-rate quality of the music and vocals that appear on the disc (a majority of which are French voices, with Stéphane Degout at their head) this immense work is from the Strasbourg Philharmonic Orchestra and the three choirs which have been brought together – because the work demands immense swelling choirs – which are the choir of the Opéra national du Rhin, the Opéra National de Bade, and the Strasbourg Philharmonic's own choir. This recording rests, of course, on the complete original edition, which gives the listener a chance to hear Les Troyens as the work was performed in 1863, at the Théâtre-Lyrique, in which some intense chopping saw Acts I and II condensed into one part and Acts III to V into another, producing two distinct operas (La Prise de Troie and Les Troyens à Carthage). We also get a taste, naturally, of Berlioz's immensely rich orchestral innovations: with every new work, he would invent some exciting new prototype from scratch, never content to rest on his laurels. The listener should note the presence of six saxhorns, recently invented by Adolphe Sax (of whom Berlioz was an indefatigable champion, even if he didn't often use his instruments in his scores, no doubt because of the poor quality of the early instrumentalists who learned - however well or badly - Sax's instruments); bass clarinet, and an army of percussion pieces including several instruments which must have been rare in those days: crotales, goblet drums, tom-toms, thunder sheets... clearly, this is a milestone in the Berlioz discography. © SM/Qobuz
€ 16,99
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Symfonieën - Verschenen op 27 oktober 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - Diapason d'or / Arte - Choc de Classica - 5 Sterne Fono Forum Klassik
An album, a symphony: you would think that we had returned to the days of the Long Play, and the era of Mravinsky, Doráti, Markevitch, Karajan as well as many other performers and interpreters who have marked the discographic history of the last symphony from Piotr Ilitch Tchaikovsky. The album cover also seems to confirm it: it brings to mind the old RCA covers from the 50s and 60s. Sony Classical, being very supportive of the artistic endeavours of the Greco-Russian master, didn't hesitate to bring out a roughly 45-minute album - they had done better with the Rites of Spring (2015), which was feted in the press. Here, Teodor Currentzis continues his exploration of Tchaikovsky's world, with the Pathétique, putting the accent on the dynamic contrasts, sometimes naturally, sometimes by technical means (adagio lamentoso), and bringing to bear some methods that are normally specific to pop music. He exploits the sombre tone of the work, even above its rhythmic energy, and looks to create atmospheres that one could often call morbid. For record-lovers, this release is a great opportunity to revisit his discography, and for all other ardent Qobuz users it is an opportunity to rediscover this true emblem of the orchestral repertoire. © TG/Qobuz
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Piano solo - Verschenen op 8 september 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - Choc de Classica - Choc Classica de l'année
With his 60th birthday approaching, the Polish pianist Krystian Zimerman thought it was time “to find the courage for works such as these and the last Beethoven sonatas. I’ve played these pieces for 30 years, but always feared them tremendously because of my unbelievable respect for the composers. Perhaps I worried that if I left them any longer, it would be too late.” Zimerman has used a normal piano, but fitted with a keyboard made by himself, designed to create qualities Schubert would have known in his instruments. Compared to a modern grand piano, the hammer strikes a different point of the string, enhancing its ability to sustain a singing sound – though it does also set up different overtones and the piano might sound strangely tuned. Also, the action is lighter. On a modern grand piano the many repeated notes in Schubert could turn into Prokofiev. According to Zimmerman, these two last Sonatas contribute significantly to our view of Schubert’s greatness, as “he switches into a different gear, daring radically to use new ideas in harmony and polyphony. Compared to his earlier sonatas, they could almost be by another composer.” The album was recorded in January 2016.
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€ 11,49

Klassiek - Verschenen op 1 september 2017 | Aparté

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month - Choc de Classica - 5 Sterne Fono Forum Jazz
Christophe Rousset and the Talens Lyriques bring us to the stage of the Royal Academy of Music where Pygmalion, an act of ballet by Jean-Philippe Rameau inspired by an episode of Ovid’s Metamorphoses, was created in 1748. Love, showing empathy for Pygmalion’s despair of loving a statue, invigorates the sculpted woman who immediately falls in love with her creator. Very suggestive, the music of this tender and mischievous ballet deploys the grace of 18th century dances. Like Ovid’s Love, Christophe Rousset instils life in this score, one of Rameau’s greatest successes in his day, and offers us, thanks to his sense of drama and his impeccable leadership, a new and essential reading of this ballet. © Aparté
€ 58,49
€ 41,99

Symfonieën - Verschenen op 16 juni 2017 | Deutsche Grammophon Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Record of the Month - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik

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Opera in het magazine