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419 albums gesorteerd op Date: from newest to oldest
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Concerten voor viool - Verschenen op 13 september 2019 | Channel Classics Records

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Ning Feng, 1st Prize Winner of the Paganini Competition 2006, brings you Paganini’s Violin Concerto No. 1 and Vieuxtemps’ Violin Concerto No. 4 on his Stradivari ‘MacMillan’, 1721. ‘Virtuosismo’ is his second recording with OSPA – Orquesta Sinfónica del Principado de Asturias under the baton of conductor Rossen Milanov. The previous album ‘Apasionado‘ received excellent reviews. Paganini, Violin Concerto No. 1 Paganini composed all his pieces for violin and orchestra for his own use, keeping them secretly stowed away. Consequently, most were published only after his death, and some not until recent decades. The first of his six violin concertos is a virtuosic tour de force, demonstrating not only his incredible technical command but also his great talent for melody and drama. It breathes the spirit of Rossini, whose operas were enormously popular at the time. Originally composed in the key of E flat major, Paganini tuned his violin a semitone up so that he could play in D major, as it were, and thus execute complicated double stops that are impossible in E flat while producing a brighter sound from his instrument. It was partly for this reason that contemporaries said the concerto was ‘unplayable’. Today the work is always performed in D major. Vieuxtemps, Violin Concerto No. 4 The next piece was written by the son of a weaver, amateur violinist and violin maker from Belgian Verviers named Henri Vieuxtemps (1820-1882). A child prodigy, he enjoyed an outstanding career as a violinist from the age of six, studying in Vienna and Paris (with Charles de Bériot) and touring Europe, Russia and the USA. From 1871 he was an influential teacher at the Brussels conservatory, where his pupils included Eugène Ysaÿe. But within two years, in 1873, a stroke caused lameness in his right arm, and Vieuxtemps was forced to withdraw from teaching. He spent his final years composing in a sanatorium in Algeria, where his daughter had settled with her husband. Vieuxtemps was greatly admired by contempories such as Berlioz and Paganini, whom he met in London. When Robert Schumann heard him in Leipzig in 1834, he described the fourteen-year-old’s playing as magical and compared him with Paganini. That was during a tour of Germany and Austria, when Vieuxtemps was accompanied by his father. After playing Beethoven’s Violin Concerto in Vienna, he decided to stay there for some time to study composition with Simon Sechter, under whom Anton Bruckner was later to study counterpoint. After his London debut in 1834, Vieuxtemps pursued his composition studies with Anton Reicha in Paris, the fruits of which are particularly evident in his First Violin Concerto, dating from 1836 (and later published as no. 2). The Fourth Violin Concerto in D minor opus 31, on this recording, was Vieuxtemps’ own favourite concerto. He composed it when employed as a court violinist in Saint Petersburg (1846-1851). © Channel Classics
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Duo´s - Verschenen op 30 augustus 2019 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Viool solo - Verschenen op 30 augustus 2019 | Ad Vitam records

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Viool solo - Verschenen op 19 juli 2019 | CAvi-music

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Concerten voor viool - Verschenen op 21 juni 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
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Concerten voor viool - Verschenen op 3 mei 2019 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Viool solo - Verschenen op 26 april 2019 | Channel Classics Records

Hi-Res Booklet
Still relatively unknown outside of Northern Europe, Rosanne Philippens is one of the best Dutch violinists of her young generation. She has an exclusive recording contract with label Channel Classics. The fifth album of this fruitful collaboration, "Insight", is also the young musician’s very first solo programme, proposing works from Biber, Bach, Enescu and Ysaÿe, as well as a few improvisations, bridging the gap between pieces. Right from the incipit of Biber’s Passacaglia, Rosanne Philippens amazes with the fleshy, woody sonority of her instrument, the brightness of her phrasings and the flow of her conceptions. This programme features a dialogue between centuries, a conversation between wildly diverse aesthetics, and must be approached like a genuine journey, without markers, a dive into the unknown. The works are fragmented; J. S. Bach’s Partita No. 2 for instance is presented in two distinct pieces, and doesn’t even include the final Chaconne − maybe in volume two? Biber’s wonderful Passacaglia (perhaps its most beautiful recorded interpretation on a violin) opens and closes the album. To go along, some fantastic pieces by Enescu, starting with the Sarabande, a clear homage to the Thomaskantor. In the very rare Airs dans le genre roumain, Rosanne Philippens attests her natural insight into Eastern European compositions – she has already recorded many of Bartók and Szymanowski’s works. An artist worth discovering in a particularly bold programme. © Pierre-Yves Lascar/Qobuz
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Duo´s - Verschenen op 26 april 2019 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Viool solo - Verschenen op 19 april 2019 | Channel Classics Records

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Viool solo - Verschenen op 19 april 2019 | Channel Classics Records

Booklet
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Concerten voor viool - Verschenen op 5 april 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
With a quartet of violin concertos by Jean-Marie Leclair, Leila Schayegh continues her exploration of the instrument’s repertory, combining musical insight, virtuosic brilliance and historical understanding. Leclair, who grew up in Lyon and studied in Turin before moving to Paris (he held a short-lived official post at Louis XV’s court in the 1730s) produced solo sonatas (and duos) as well as his acclaimed concertos. In her booklet notes, Leila Schayegh, who currently teaches Baroque violin at the Schola Cantorum Basiliensis, comments on how Leclair – an outstanding violinist himself – was in thrall to the Italian instrumental style but was concerned that his music should not be played too fast; he was praised for his “netteté”, a combination of impeccable technique and musical perfection. This first volume in Schayegh’s projected series of recordings of the Leclair violin concertos embraces the Nos. 2 and 6 works from the two six-concerto series of Opp 7 and 10. The G minor concerto, Op. 10 No. 6, is frequently cited as being the highpoint of Leclair’s output. For this dazzling new exhibition of the Swiss violinist’s art, Schayegh – who plays a late-seventeenth-century Andrea Guarneri instrument – directs Basel’s La Cetra Barockorchester, which features Eva Saladin as its “konzertmeisterin” and Sonoko Asabuki as a further principal violinist (Leclair’s concertos often called for up to three soloists). © Glossa
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Duo´s - Verschenen op 5 april 2019 | Pan Classics

Booklet Onderscheidingen 5 de Diapason
Enrico Onofri discovered Bartók’s pedagogical piece 44 Duets for two cellos while he was studying in Italy under Hungarian master violinist Sándor Végh. Onofri took his time to prepare his project and looked for the ideal partner. When he met Lina Tur Bonet, then, he knew he had found her. Both violinists come from a baroque background and they both love Bartók.  Bartók composed the piece in 1931 following the suggestion of a German professor who needed a cycle for two violins without accompaniment. The initial agreement called for the rearrangement of his “For Children” played on the piano. But Bartók’s inspiration led him to a more ambitious project. With his friend Zoltán Kodály at his side, he traveled to remote regions of Eastern Europe, where he collected music and popular songs.  Bartók created a network of modes that gives students the opportunity to have fun learning while focusing on progressive and irregular rhythmic parts, double strings, syncopation and percussive effects. The piece is a catalogue of changing atmospheres that seduces musicians far beyond their initial pedagogical aspect.Enrico Onofri and Lina Tur Bonet thought of the duos as a unique 45-minute cycle and exploration of Bartók’s world. They use highly reverberant acoustics and show their “historically informed” abilities to play precise articulations as well as each note’s dynamics. On this recording, they used strings from the early 1900’s mixing bare gut (A and B), metal-wound gut (G), and steel (E), a mixture which creates a pure and precise sound. © François Hudry/Qobuz
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Concerten voor viool - Verschenen op 15 maart 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, here is the next instalment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43. This fascinating achievement is a timely reminder that the master of The Well-Tempered Clavier was also a virtuoso violinist! © harmonia mundi
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Concerten voor viool - Verschenen op 15 maart 2019 | Gramola Records

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Duo´s - Verschenen op 8 maart 2019 | Oehms Classics

Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 8 februari 2019 | Ondine

Hi-Res Booklet Onderscheidingen Choc de Classica - 5 Sterne Fono Forum Klassik
Unlike usual opera sequences, the ones excerpted from Zimmerman’s Die Soldaten (‘The Soldiers’) which he named Vokal-Sinfonie (Vocal Symphony) were created before the opera as proof that the music was playable. Indeed, its final score posed quite the challenge for the singers, the orchestra, the theatres and for the audience: with sixteen singing roles, around ten spoken roles, an orchestra of about one hundred musicians, crazy percussion instruments, film projectors, tape recordings and extra-musical sound effects – it’s enough to make any opera house fear for their budget! Not to mention the fact that the audience was also subject to the strict dodecaphonic system and some of the opera scenes actually overlapped. Zimmermann initially wanted the piece to be performed on twelve different stages that surrounded the audience who would be sitting on swivelling chairs and would rotate themselves accordingly. However, the idea was rejected by the theatre where the first performance was to take place and the composer finally abandoned the idea and remodelled his work to render it – almost – performable. Here, you can listen to Vokal-Sinfonie from 1963 which has some noticeable similarities with Berg’s Wozzeck, particularly in the raw and deeply moving lyricism of the vocal material. The Sinfonie is followed by the 1968 Photoptosis for full orchestra, one of the composer’s last two works before he died two years later after having suffered from severe depression. The score is both dark and light at the same time and is a work of sheer orchestral genius. The album opens with the 1950 Violin Concerto, which despite its supposedly classic form (Sonata-Fantasia-Rondo) explores the world of modernism in an intense and beautifully dark lyricism. © SM/Qobuz
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Kamermuziek - Verschenen op 11 januari 2019 | Signature - Radio France

Onderscheidingen 5 de Diapason
Outstanding musicians in an exceptional programme, stamped with rhythmic energy from start to finish, featuring Florent Schmitt's Opus 68, Albert Roussel's Opus 28 et the Sonata for violin and piano of André Prévost (1934-2001).
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Concerten voor viool - Verschenen op 16 november 2018 | LSO Live

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 16 november 2018 | Channel Classics Records

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Duo´s - Verschenen op 9 november 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
At a time when Mozart was writing his first sonatas for violin and clavier, in 1778, it was the done thing to write piano sonatas with violin accompaniment in which the violin part is fairly unobtrusive. The purpose of this was not to put off the target audience for the scores: educated amateurs. But Mozart paid no heed to this convention and took off into a new world with real duets, in which the two instruments found themselves on an even footing. At the same time, he avoided the corrective exaggeration which would appear in some scores which resembled violin concertos with a little piano support. Here we have a perfect balance between the two players: Isabelle Faust on the violin and Alexander Melnikov at the clavier. The latter of the two plays on a copy of a Viennese fortepiano made in 1795 by Anton Walter. The sound balance is utterly perfect, which is a relief, as all too often these sonatas either favour the keyboard part when played on the piano or the violinist tries to force it. We have here two sonatas written in Paris shortly after the death of Mozart's mother (who accompanied him on the journey), and then another from 1787 written in the wake of Leopold Mozart's death. Despite this the composer seems to be putting on a brave face, flashing a smile tinged with a tender nostalgia on the Sonata in E Minor K. 304. © SM/Qobuz