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Klassiek - Verschenen op 20 september 2019 | Orchid Classics

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A Pan-American Story My story is a modern one, in many ways. I was born and raised in Venezuela until the age of 8, at which point my family moved with me to the United States for a decade. I landed at the Royal Academy of Music in London in my early twenties. I am a globalized, Latin-American woman raised on a diet of European classical music with multiple, circumstantial side-dishes of Pan-American folklore. I also consider myself to be a musician whose primary role is to tell stories that reflect the wide gamut of human experience across both time and geography. Every era and continent has its story to tell, however joyful or troubling, from Renaissance Europe to the contemporary Americas, and composers are well positioned not only to tell it, but to provide a unique form of social commentary. The piano is my chosen instrument as a performer, but not my only narrative tool as a composer and communicator. It should come as no surprise, then, that my first concerto should be written for the piano as solo instrument, and that it should employ traditional, European musical structures to tell my contemporary story as a well-travelled Latin-American woman. In a process of musical osmosis – a natural consequence of the globalized, interconnected world in which we now live – my Piano Concerto No.1, the ‘Latin’ Concerto, honours the musical traditions that have shaped me, while inviting the cultural idioms of my native continent to the concert halls of Europe and the wider world. European formalism and the informality of Latin-America’s rich, rhythmical identity merge in a complementary dance of both the joyful and macabre. Writing my concerto, I set out to describe the complex and often contradictory character of Latin America, from the rhythmically exuberant to the forebodingly demonic. Unlike my previous work for piano and orchestra – the specifically Venezuelan polemic Ex Patria (2011), a musical portrait of a country in collapse – the ‘Latin’ Concerto draws upon the spirit of the broader South American continent. For every suggestion of surface celebration, in the first-movement Mambo, for instance, there are undercurrents of disruption. The third-movement Allegro venezolano, which cites the well known Venezuelan Pajarillo, is interrupted at times by the dark arts of black magic, a symbolic reminder of the malevolent forces that, too often, hold our continent hostage to tyranny in its multiple guises. Ravel’s Piano Concerto in G major invites the North American idiom of jazz to the musical feast. I can only begin to imagine how exciting it must have been for Ravel to embark on a four-month tour of North America in 1928, and to hear Gershwin in the jazz clubs of New York. The story goes that Ravel was so eager to learn the language of jazz that he enlisted Gershwin himself to teach him. “Better you be a first-rate Ravel than a second-rate Gershwin”, came the apocryphal response. Needless to say, Ravel learned plenty of somethin’ on that tour, and returned to Paris determined to fuse his love of the new American jazz and Basque folklore with his own disciplined, exquisitely-crafted, classical expressionism. The result is a piece that delights and moves me every time I play it, a pianist-composer’s bold exploration of multiple musical idioms and structures that I am thrilled to pair with my own South American offering on this recording. I hope this creative project brings pleasure to all lovers of piano and orchestral music who hold the musical culture of the Americas – North and South – close to their hearts. (Gabriela Montero) © Orchid Classics
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Kamermuziek - Verschenen op 6 september 2019 | Delos

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Klassiek - Verschenen op 10 mei 2019 | Oehms Classics

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Klassiek - Verschenen op 5 april 2019 | Jube Classic

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Duo´s - Verschenen op 1 februari 2019 | Avie Records

Hi-Res Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 1 februari 2019 | CAvi-music

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Klassiek - Verschenen op 7 december 2018 | Naxos

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Klassiek - Verschenen op 23 november 2018 | PM Classics Ltd.

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German pianist Joseph Moog (born in 1987), recipient of the prestigious Young Artist of the Year award at the 2012 and 2015 Gramophone Classical Music Awards as well as 2014 Solo Instrumentalist for his album “Scarlatti Illuminated”, has led a stunning fifteen-year international career that has led him to perform on the world’s greatest stages accompanied by excellent orchestras. His repertoire includes the great classical repertoire, romanticism and 20th century as well as rarities that have become his trademark (rather than a simple specialisation). He has tackled works from the likes of Leopold Godowsky, Ferruccio Busoni, Anton Rubinstein, Moritz Moszkowski and Ignaz Friedman, some of the most significant virtuoso-composers of their time. Here, we find him deep in exploration of the French repertoire with Debussy’s twelve Études, completed by a thirteenth one which was recently discovered in the composer’s drafts and duly finished by Roy Howat. The album also features an absolute essential, Ravel’s Gaspard de la nuit, which Moog performs with great clarity. It’s as if the preceding Études had warmed up his fingers as well as his mind and naturally spilled over into the famous triptych. © SM/Qobuz
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Symfonische muziek - Verschenen op 31 augustus 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
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Klassiek - Verschenen op 27 juli 2018 | Jube Classic

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Klassiek - Verschenen op 4 mei 2018 | Jube Classic

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Kamermuziek - Verschenen op 2 februari 2018 | Accentus Music

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Piano solo - Verschenen op 15 december 2017 | Melodiya

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Here is an album filled with piano reminiscences of the highest level: Russian pianist Ludmila Berlinskaya is descendant of an impressive dynasty of musicians (her father was a cellist and the founder of the Borodin Quartet) who grew up around some of the greatest geniuses of the Soviet Union − Rostropovich, Oistrakh, Goldenweiser, Flier, Temirkanov, Svetlanov, Rozhdestvensky, Kitayenko, Solzhenitsyn and Sakharov. Later, before launching her great international career, she didn’t think twice about working as Richter’s page-turner, before becoming a sort of “spiritual daughter” for the great master. Undeniably her piano technique, as clear as a diamond and devoid of any damper effect – polyphonic lines are held by the fingers, as they should be – is evocative of Richter’s. The album’s title draws from Medtner’s Sonata “Reminiscenza”, a wonderful masterpiece that is unfortunately never played, but the other three works, much like Medtner’s Sonata, end pianissimo with a certain sense of melancholy: Beethoven’s Piano Sonata No. 30, Ravel’s Valses nobles et sentimentales (Noble and Sentimental Waltzes), and Schumann’s Kreisleriana. © 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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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 10 maart 2017 | Alpha

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

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Klassiek - Verschenen op 1 januari 2005 | Decca Music Group Ltd.

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Klassiek - Verschenen op 21 oktober 2016 | Jube Classic

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Klassiek - Verschenen op 10 juni 2016 | Sony Classical

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