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Duo´s - Verschenen op 6 november 2020 | L'Encelade

Hi-Res Booklet Onderscheidingen 4F de Télérama
Johann Sebastian Bach (1685-1750) composed the six sonatas for keyboard and violin while he was in the service of Prince Leopold of Koethen (1717-1723), a period during which he focussed on composing secular instrumental music. These works were not written as sonatas for a melodic instrument and a basso continuo part performed on the keyboard, as was usually the case at that time - on the contrary, Bach composed these six sonatas as works for three voices, so they are true trio sonatas. One voice is allocated to the violin and two to the two hands on the keyboard, thus giving greater contrapuntal depth to the way that they are composed. This fresh take on these sonatas for keyboard and violin comes with an invitation to embark upon an organ-driven journey. The six sonatas have been broken down into three duos, each of which has been recorded using a different organ and violin combination, whilst at the same time remaining stylistically consistent with the types of instrument with which was Bach was familiar and which he himself played. The three organs are all in the East German style and the violin-makers who inspired the instruments used for the recordings were contemporaries of Bach. The programme also offers a seventh sonata for keyboard and violin (BWV 1028) which is far better known in its version for the viola de gamba. It also includes two less well-known violin and basso continuo sonatas by Bach, inspired by the Italian style, which allows the listener to get a better grasp of the difference between the two compositional models. Freddy Eichelberger has also chosen to introduce the works for keyboard and violin with solo organ pieces which act rather like preludes, thus highlighting the sonority of each of the instruments. In this boxset, which celebrates a thirty-year musical bond between Odile Edouard and Freddy Eichelberger, it is used a different organ and violin pairing, so three sites were selected, mainly because they had the right kinds of organ for the project and were easily accessible. These were the church of Saint-Louis de Saint Étienne (Haute-Loire), the Temple de Boudry (Switzerland) and the Temple du Foyer de l’Âme (Paris). © L'Encelade
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Klassiek - Verschenen op 2 april 2020 | Aeolus

Hi-Res Booklet
BONUS VIDEOAeolus' first collaboration with the cathedral organist Daniel Beckmann from Mainz leads us to a Bernhard Dreymann organ, which has just been restored to its former glory, located in the St. Ignazkirche in Mainz. The instrument, built in 1837 at the beginning of the Romantic period, was praised by Christian Heinrich Rinck as exemplary for the then modern organ building and fits exactly into the time when Robert Schumann wrote his works for pedal piano or organ. At the time when Robert Schumann was composing his studies and fugues for pedal piano in Dresden in 1845, the organbuilding was in shadow in most European countries. Clara wrote in her diary about the purchase of a pedal board for the Schumanns: "On April 24th [...] we received a pedal board under our piano [...]. Robert found greater interest in the instrument and composed some sketches and studies for the pedal piano, which will certainly be very well received as something new." In one of the earliest reviews of the B-A-C-H fugues, Magdeburg cathedral organist August Gottfried Ritter wrote: "Those familiar with Robert Schumann will not be surprised by such a change. Such a profound and sensitive composer, so thoroughly hostile to all effects daubed on the outside, must be attracted to the instrument so closely related to his inner being, finding in it the most appropriate expression of his thoughts". As he wrote in a letter, Schumann was convinced that the fugues were "a task of which I believe they will perhaps outlive my other ones the longest".Due to its abundant foundation stops and the resulting diverse possibilities of dynamic gradations, the Dreymann organ is almost predestined for a recording of these three cycles. (Aeolus)
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Klassiek - Verschenen op 20 maart 2020 | HORTUS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 6 maart 2020 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Klassiek - Verschenen op 1 november 2019 | Decca

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Klassiek - Verschenen op 9 augustus 2019 | Signum Records

Booklet
British organist Joseph Nolan has created a very fine complete recording of Widor's works for organ on three French organs, all built by Cavaillé-Coll and each as sumptuous as the others: they are the organ of La Madeleine in Paris, mainly used for the symphonies; the organ of Saint-Sernin in Toulouse and the organ of Saint-François de Sales in Lyon for the other works. Widor's works don't finish with the exciting toccata of the Fifth Symphony, although this piece – a stunning homage to French romanticism, in the spirit of Johann Sebastian Bach – is durably marked by its luminous tone. Contrary to the style of the likes of Daniel Chorzempa, a spirited and above all colourist performer (Philips), Joseh Nolan adopts measured and tranquil tempos, overexposing the architectural side of the works of this romantic French composer, who was born in 1844 – the same year as Rimsky-Korsakov – and died in 1937, the same year as Ravel, Pierné and Roussel.The heart of Widor's organ works is surely to be found in his ten symphonies, composed between 1872 and 1900. They form a thrilling bridge between Mendelssohn and Messiaen, between the Empire and the Third Republic. Widor was intensely close to the organ: having grown up the son of an organ maker, he soon showed his affinity for the instrument. All of Widor's writing shows a musician with a real head for Dionysian virtuosity: a mindset that can't leave anyone indifferent. This re-release brings together into one box set volumes which have appeared separately over the years, and Signum Classics – for whom Joseph Nolan is one of the most important artists – allow the listener to dive again into a world of music that is too-often neglected outside of organ concerts. © Pierre-Yves Lascar/Qobuz
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Klassiek - Verschenen op 2 augustus 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 24 juli 2019 | Lanvellec Editions

Hi-Res Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 28 juni 2019 | Brilliant Classics

Hi-Res Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 3 mei 2019 | Mode Records

Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
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Klassiek - Verschenen op 22 maart 2019 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice
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Klassiek - Verschenen op 15 maart 2019 | CPO

Booklet
“An organ for Michelangelo” allegedly exclaimed Charles-Marie Widor upon seeing for the first time the Cavaillé-Coll organ at the Church of St. Ouen in Rouen, completed in 1890 and which has remained in pristine condition to this day. The famous organ builder had in fact integrated in his piece older elements from a Crespin Carlier organ from 1630, thus creating an instrument with wide-ranging sounds, from baroque to late romanticism. And Widor’s Organ Symphony No.9, Op. 70 “Gothique” is dedicated to this very organ! Here, this monumental work is played on the masterpiece that inspired it, a touching return to the original sound sources. In addition to the Ninth, this collection also features the Fifth and its final Toccata which is without a doubt the most famous moment in all of Widor’s work, as well as the Sixth, also made up of five movements, both characterised by their symphonic radiance. The Eighth, the Ninth and the Tenth end Widor’s cycle of ten symphonies for organ, which he wrote between 1887 and 1900 before turning his attention to other musical genres. All the while, he pursued his immense career as an international soloist until the end of his long life, as well as his vocation as a teacher, counting among his students the likes of Louis Vierne, Albert Schweitzer, Charles Tournemire and Marcel Dupré, and as a composition professor for Arthur Honegger, Edgar Varèse and Darius Milhaud. His style bears the clear influence of César Franck, whom he succeeded at the Conservatoire de Paris, and to a lesser extent of Saint-Saëns, for whom he worked as an assistant during his studies. The Cavaillé-Coll in Rouen is truly one of the most extraordinary instruments of its time; and Widor’s music is perfectly tailored for its thousand facets. © SM/Qobuz
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Klassiek - Verschenen op 22 februari 2019 | Ramée

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
Although we know of at least five concertos J.S. Bach wrote for solo organ we have no surviving Bach organ concertos with orchestral accompaniment. Contrast this with the 200+ cantatas: of these, 18 feature organ obbligato, which Bach uses as a solo instrument in arias, choral sections and sinfonias. The most obviously conspicuous date to 1726. In May to November of that year, Bach composed six cantatas which assign a prominent solo role to the organ. Most of these are reworkings of movements of lost violin and oboe concertos written in Bach’s time at Weimar and Köthen. Why Bach wrote such a number of obbligato organ cantatas in such a short period remains unknown. One possible explanation may lie in Dresden, where Bach had given a concert on the new Silbermann organ in the Sophienkirche in 1725. Some scholars think that, in addition to other organ works, he also performed organ concertos, or at least a few earlier versions of the sinfonias, with obbligato organ and strings in order to show off the organ. From the cantatas mentioned above, along with the related violin and harpsichord concertos, it is perfectly possible to reconstruct a number of three-movement organ concertos of this type. By using this method, we hope to bring some of the music which Bach may have performed in Dresden in 1725 back to life. © Ramée/Outhere
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Klassiek - Verschenen op 22 februari 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 25 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 étoiles de Classica
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Klassiek - Verschenen op 28 december 2018 | Brilliant Classics

Booklet
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Klassiek - Verschenen op 7 december 2018 | Aeolus

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 16 november 2018 | HORTUS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 14 september 2018 | La Dolce Volta

Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Grand Prix de l'Académie Charles Cros - Choc de Classica