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Concerten voor blaasinstrumenten - Verschenen op 17 mei 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Piano solo - Verschenen op 5 april 2019 | Eloquentia

Hi-Res Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 1 februari 2019 | Avie Records

Hi-Res Onderscheidingen 5 de Diapason
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Concerten voor klavier - Verschenen op 20 april 2018 | Supraphon a.s.

Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 23 maart 2018 | Rubicon Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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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
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Piano solo - Verschenen op 9 februari 2018 | SWR Classic

Booklet Onderscheidingen 5 de Diapason
More precisely: 10 April 1953 in the great hall of the Holy Orders of the baroque castle of Ludwigsburg. Clara Haskil, who sadly only had five more years left to live, albeit the happiest and most fertile of her life: with Swiss nationality and a booked-out diary, she could finally give herself over to music without worrying about survival or exile. This most prodigious period of recording gave us Mozart, to be sure, but also rarer repertoires, like Ravel or Debussy, as documented in this publication - in which, indeed, she avoids Mozart altogether! The pièce de résistance is surely the 32nd Sonata Op. 111 by Beethoven, which she plays quite differently from how we are used to hearing it: under her fingers, the fire still crackles, but Haskil knows not to make it a perpetual volcano, which would harm the discourse. Who knows whether it was her fragile health that forced her to go easy - but whatever the reason, musically at least, it is a good thing she did. The programme continues with some rather more transparent pieces from Schumann – the Abegg Variations in particular – before sojourning a while on the other bank of the Rhine with two Études by Debussy, which she plays dreamily; Sonatine by Ravel which she dreams , playfully, before closing with a choral from Bach (the Cantor who opened the proceedings), and a delicate adieu from Schumann, "Abschied" from the Waldszenen. The grande dame of the piano passes into tender silence, rather than ending the concert with virtuoso explosions. 10 April 1953 was a fine day! © SM/Qobuz
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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
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Vocale muziek (wereldlijk en religieus) - Verschenen op 12 januari 2018 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
Alpha continues its collaboration with the Festival d’Aix-en-Provence and its Academy, which will celebrate its twentieth anniversary in 2018. We invite you to discover artists of great talent who take us on a trip to Auvergne, Sicily, Armenia and Azerbaijan thanks to Luciano Berio’s Folk Songs, to Andalusia with Falla’s Psyché on a poem of Georges-Jean Aubry, and to the world of Jules Renard with Ravel’s Histoires naturelles. The last-named are recorded in a version for chamber ensemble: ‘Since Ravel gave Manuel Rosenthal to make an arrangement for large orchestra which we found rather overblown, we set out to find a “chasseur d’images” (to quote the title of one of Renard’s Histoires naturelles poems) who could transcribe the work without losing its intimate, delicate aspect. . . . We hope you will be as charmed as we are by Arthur Lavandier’s work, which beautifully conveys the immensely refined timbres and nuances of Ravel’, says the oboist Clément Noël, a member of the Swiss Ensemble Labyrinth. Anna Stéphany is a true revelation, performing this programme with the technique, the sensuality and the emotional impact that earned her a huge triumph in Mozart at last summer’s Glyndebourne Festival. © Alpha Classics
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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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Piano solo - Verschenen op 13 oktober 2017 | SWR Classic

Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 22 september 2017 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Concertmuziek - Verschenen op 1 september 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
The previous batch from the 2015 Lugano Festival was especially rich, with many of the chosen moments being particularly thrilling (Brahms’ Trio, Poulenc’s Sonata for two pianos). The 2016 Festival would in turn see one great event: the tremendous Martha agreed to play on stage, for the first time in more than thirty years, Ravel’s Gaspard de la nuit. She was worried at the thought of measuring herself against her own success from forty years ago—she recorded in 1974 for Deutsche Grammophon a Ravel LP featuring Gaspard, Sonatine and Valses nobles et sentimentales, which is still in everyone’s memory despite its disappointing sound recording. On the spot, it’s obviously all the magic from a sound completely revealing itself, and the permanence of a vision. The truly haunted tone of Le Gibet leaves a lasting impression, Scarbo’s goblin literally shatters when Ondine, completely radiant, screams her recollections of Liszt and remembers just as much Une barque sur l’océan written a few years before. The rest of the testimonies from this 2016 Lugano Festival is as varied as usual. We’ll start with the rarity among the musical repertoire that is Busoni’s Violin Concerto, in D major (like the ones from Beethoven, Brahms, Tchaikovsky), also being the opus 35 (like the ones from Tchaikovsky, Korngold), under Renaud Capuçon’s determined bow. As for the two pianos, a classic from Argerich’s repertoire, Mozart Sonata for Two Pianos K. 488 that she’s enjoyed playing regularly with her friends for a few years, here with Sergey Babayan. And let’s not forget the very sincere Horn Trio from Brahms, with the trio Capuçon, Angelich & Guerrier (in 2015, a version without horn was unforgettable), or especially Bach’s Sonata by Martha Argerich and Tedi Papavrami, which could make us forget to not have this duo play the five other works written by Bach for the same formation. We cannot ignore the too short moment from the duo Tiempo & Lechner, as thrilling as ever, here in two Falla’s dances. During this 2016 edition, Argerich also played Ravel’s Concerto in G major. Maybe not in its most extraordinary version, but listening to its phrasings, accents, and nuances that are so personal in the Adagio assai this work remains the source of a rare emotion. May this Lugano Festival resuscitate in a few years with the participation of generous sponsors nostalgic of these incredible moments. © PYL
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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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Klassiek - Verschenen op 18 augustus 2017 | Ars Produktion

Booklet Onderscheidingen 5 de Diapason
The title of this recording by violinist Fedor Rudin (grandson of Edison Denisov) and pianist Florian Noack, REFLETS, was chosen for two reasons, according to the two soloists: firstly, because all works of art are connected in one way or another, because they make reference to each other in various ways or because they share a common tradition. Ravel, for example, was Fauré’s composition pupil, who in turn was Lili Boulanger’s piano teacher; sure, Catoire was influenced by Wagner, but when listening to his violin sonata, the first thought that comes to mind is: “This is the Sonata that Rachmaninoff should have written!”, even though Rachmaninoff lived after Catoire. In that sense, art is a reflection of our past while pointing towards the future; the interpreter turns into the composer’s reflection during the performance. The second meaning is related to our personal histories, to the so-called origin-based traditions and the reflections on culture that result from them, something Fedor Rudin is most familiar with as someone who was born in Russia and brought up in France. These reflections had a considerable influence on this selection of Russian and French works on this recording: one sonata – Catoire and Ravel – and two miniatures each, which belong together – Rachmaninov and Boulanger –, as well as two separate pieces, one from Russia and one from France – Fauré and Tchaikovsky. The programmatic reciprocation between the two countries mirrors Rudin’s own personal circumstances. Catoire was of French heritage and grew up in Russia... Within the programme there are similar parallels, for example with the two Romances, one Russian and the other French: two cultures that were closely intertwined and influenced each other before the Russian revolution. Franco-Russian violinist Fedor Rudin, a prizewinner of renowned international violin competitions including the Henri Marteau, Rodolfo Lipizer and the Aram Khachaturian competitions, is quickly establishing himself as one of the most exciting and gifted soloists of today. His recent concert engagements include solo debuts at prestigious venues such as Carnegie Hall, the Philharmonie de Paris, Vienna’s Musikverein or the Tonhalle Zurich among others. The Belgian pianist Florian Noack was named “Emerging Artist of the Year” in 2015 by ECHO Klassik and awarded the International Classical Music Award (ICMA) 2017 for his recording of his own piano transcriptions and paraphrases of orchestral works by Tchaikovsky, Rimsky-Korsakov and Rachmaninoff. © SM/Qobuz
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Trio´s - Verschenen op 13 juni 2017 | Melodiya

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Wereldlijke vocale muziek - Verschenen op 28 april 2017 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 10 maart 2017 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 27 januari 2017 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Piano solo - Verschenen op 13 januari 2017 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason

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Opera in het magazine