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Albums

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Klassiek - Verschenen op 18 oktober 2019 | Preiser Records

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Klassiek - Verschenen op 4 oktober 2019 | Intense Media GmbH

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Klassiek - Verschenen op 4 oktober 2019 | Intense Media GmbH

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Klassiek - Verschenen op 4 oktober 2019 | Intense Media GmbH

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Klassiek - Verschenen op 30 september 2019 | Rubato Productions

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Kamermuziek - Verschenen op 27 september 2019 | Groupe Analekta, Inc

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Klassiek - Verschenen op 20 september 2019 | Warner Classics

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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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Klassiek - Verschenen op 13 september 2019 | Warner Classics

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Klassiek - Verschenen op 12 september 2019 | Music Manager

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Klassiek - Verschenen op 12 september 2019 | Music Manager

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Kamermuziek - Verschenen op 6 september 2019 | Delos

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Klassiek - Verschenen op 4 september 2019 | Naxos Japan

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Klassiek - Verschenen op 30 augustus 2019 | Chandos

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The internationally renowned pianist Imogen Cooper is best known for her interpretations of composers of the classical and romantic eras, as reflected in her existing discography for Chandos, featuring works by Liszt, Wagner, Brahms, Chopin, Beethoven, and Robert and Clara Schumann. On her new album, she explores the links between more recent French and Spanish styles in a programme ranging from Albéniz to Mompou via Debussy, Ravel, and Falla. Informed by the pianist’s frequent visits to (and love for) Catalonia (homeland to Albéniz and Mompou) and the Basque region of southern France (birthplace of Ravel) these are performances filled with feeling and personality, as well (of course) as virtuosic playing of the highest order. © Chandos
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Kamermuziek - Verschenen op 30 augustus 2019 | Chandos

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Following her acclaimed recording of Mozart’s Flute Quartets with the Brodsky Quartet and her more recent disc of Fauré and Debussy, the flautist Lisa Friend continues her journey to explore another sound-world in this programme of works for flute and guitar(s). Spanning music from Brahms to Bellinati, the wide-ranging programme juxtaposes original compositions for these forces (Ibert’s Entr’acte, Piazzolla’s Histoire du Tango) with arrangements – some of instrumental works (Brahms, Poulenc, Shostakovich) and some of vocal pieces (Donizetti, Rachmaninoff). Works for flute and guitar quartet are interspersed with more intimate pieces, for flute and solo guitar, which adds further variety to the programme. No mere accompanists, Craig Ogden and the Aquarelle Guitar Quartet play a significant role throughout. The end result is a fascinating and rewarding programme of delightfully listenable music. © Chandos
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Kamermuziek - Verschenen op 23 augustus 2019 | Off-Tone

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Klassiek - Verschenen op 2 augustus 2019 | Editions Audiovisuel Beulah

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Kamermuziek - Verschenen op 2 augustus 2019 | Pro Musica Nipponia

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Kamermuziek - Verschenen op 5 juli 2019 | Alba

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Opera in het magazine