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Volledige opera's - Verschenen op 8 november 2010 | naïve classique

Booklet Onderscheidingen Diapason d'or
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Symfonieën - Verschenen op 19 oktober 2018 | Sony Classical - Sony Music

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 9 juli 2021 | Alpha Classics

Hi-Res Booklet
Entitled "The Times of Day", this programme of the tenth volume in the complete recording of Haydn’s 107 symphonies on Alpha Classics is devoted to Symphonies No. 6, No. 7 and No. 8, whose individual names translate as "Morning", "Noon" and "Evening". Prince Paul Anton Esterházy, who commissioned the work, is said to have wanted to show his guests that his orchestra was of excellent quality and that "his" Haydn was highly inventive. Giovanni Antonini’s orchestra, Il Giardino Armonico, once again rises to the challenge! This triptych following the sun’s course is prolonged into the night by the work of another composer: Mozart’s Serenade in D major, nicknamed "Serenata notturna", probably written for a masked ball at Salzburg Town Hall in February 1776. Jérôme Sessini of the Magnum agency, who has won awards for his work on the cartel wars in Mexico and the opioid crisis in the United States, took the photographs featured in this volume. © Alpha Classics
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Klassiek - Verschenen op 9 juli 2021 | Alpha Classics

Hi-Res Booklet
Entitled "The Times of Day", this programme of the tenth volume in the complete recording of Haydn’s 107 symphonies on Alpha Classics is devoted to Symphonies No. 6, No. 7 and No. 8, whose individual names translate as "Morning", "Noon" and "Evening". Prince Paul Anton Esterházy, who commissioned the work, is said to have wanted to show his guests that his orchestra was of excellent quality and that "his" Haydn was highly inventive. Giovanni Antonini’s orchestra, Il Giardino Armonico, once again rises to the challenge! This triptych following the sun’s course is prolonged into the night by the work of another composer: Mozart’s Serenade in D major, nicknamed "Serenata notturna", probably written for a masked ball at Salzburg Town Hall in February 1776. Jérôme Sessini of the Magnum agency, who has won awards for his work on the cartel wars in Mexico and the opioid crisis in the United States, took the photographs featured in this volume. © Alpha Classics
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Klassiek - Verschenen op 1 maart 1995 | Warner Classics International

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Klassiek - Verschenen op 22 januari 2021 | Alpha Classics

Hi-Res Booklet
The last instalment of Giovanni Antonini's complete works of Haydn with the ensemble Il Giardino Armonico features three symphonies and La Scena di Berenice sung by Sandrine Piau. We know the story of the symphony “The Farewell", a subtle request from the composer to his prince to grant leave to exhausted musicians in his chapel. In the Finale, a moving Adagio, each musician blows the candles from his desk and leaves on tiptoe until the stage is empty. But this pleasant anecdote too often obscures any analysis of a work full of originality thanks to its rare key (F sharp minor) and the structure of its different movements.While Joseph Haydn sets out a classical framework for the symphony, he simultaneously explodes the schema by means of an architecture which is constantly renewed through a continuous motion from major to minor keys. This is the case of Symphony No. 35 in B-Flat Major which opens this album, constantly oscillating between pure entertainment and drama in a spirit which is totally peculiar to the eighteenth century.This long search for form led Haydn to take sometimes unusual paths, as in this Symphony No. 15 in D Major, which seems to synthesise his research from the late 1750s. The Minuet is for example placed in second position, before an Andante of great simplicity and a final Presto in the form of a rondo. Inspired by Metastasio's Antigone and premiered in London in 1765, la Scena di Berenice is Haydn's greatest dramatic scene outside of his operas. Abandoned by her lover, Bérénice sings her despair and rage through music full of boldness. © François Hudry/Qobuz
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Concertmuziek - Verschenen op 1 mei 1993 | Warner Classics International

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Klassiek - Verschenen op 22 februari 2019 | Alpha Classics

Hi-Res Booklet
Since the 2015-2016 season Giovanni Antonini has been the "principal guest conductor" of the Basel Chamber Orchestra (Kammerorchester Basel, recreated in 1984 in the spirit of the first Basler Kammerorchester which was founded by the patron and Swiss conductor Paul Sacher). He is working with them on important discographic projects, such as the complete Beethoven symphonies (Sony Classical) which are proving a great success with the press; and the "Haydn 2032" project, a recording of the complete hundred and seven symphonies by Joseph Haydn, to mark the composer’s 300th birthday.Volume 7 begins with the extraordinary Symphony No. 67 in F major. This astonishing work showcases its author's boundless inventive faculty, bringing together an overpowering joie de vivre with passages of pure chamber music; the evocation of the village fiddlers or, in the wonderful and enchanting Mozartian Adagio, the use of the bows "col legno" (that is, used by striking the wood of the bow against the stands) long before Rossini in his opening to Il Signor Bruschino, remain particularly memorable moments.Mozart, the much-admired friend, is also present in this album dedicated to the impresarios ("gli impresari"), those theatre directors whom Prince Esterházy hired for certain shows that Haydn enriched with compositions which would later be transformed into symphonies – and which are now presented here, in this volume.In addition to the Symphony No. 67 described above, this edition offers an original version of Mozart's Thamos, King of Egypt in an exclusively instrumental form, as well as Haydn's Symphonies No. 9 and No. 65 which were written for use in the theatre. This theatre of passions that runs through Haydn's 107 symphonies must therefore be understood as a perfect match between the natural aspirations of the composer's own genius and the pragmatism that almost always governed the arts of the time. © François Hudry/Qobuz
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Klassiek - Verschenen op 27 maart 2020 | Alpha Classics

Hi-Res Booklet
Giovanni Antonini, virtuoso flautist and orchestral conductor, is the founder of the Italian ensemble Il Giardino Armonico, which burst on the baroque musical scene in 1985; together they have amassed an impressive discography. Partnered by Alpha Classics, they have launched a complete recording of the 107 symphonies by Joseph Haydn, in anticipation of the 300th anniversary of his birth in 2032. Il Giardino Armonico is celebrating a composer with whose music he made his name: Antonio Vivaldi. With Antonini as soloist in a programme of his own devising recorded between 2011 and 2017, a generous bouquet of concertos "per flauto" : RV 433 (‘La Tempesta di Mare’), plus the Concertos RV 441, 442, 443, 444, and 445, and an amazing version of Cum dederit, a solo from Nisi Dominus RV 608, for the chalumeau, the predecessor to the modern-day clarinet. © Alpha Classics
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Klassiek - Verschenen op 13 oktober 2014 | Alpha Classics

Hi-Res Booklet
Since the 2015-2016 season, Giovanni Antonini has been the "principal guest conductor" of the Basel Chamber Orchestra (Kammerorchester Basel, recreated in 1984 in the spirit of the first Basler Kammerorchester which was founded by the patron and Swiss conductor Paul Sacher). He is working with them on important discographic projects, such as the complete Beethoven symphonies (Sony Classical) which are proving to be a great success with the press; and the "Haydn 2032" project, which is set to comprise the complete hundred and seven symphonies by Joseph Haydn, to mark the latter’s 300th birthday.The first fruit of this vast complete collection, that is, this album, was created by Antonini's historic Italian ensemble and described as a work of "passion" (but how could it be otherwise with a personality as joyful and innovative as Haydn?). The record gets off to a flying start with the Symphony n° 39 in G minor, subtitled "Tempesta di mare" on a 1779 manuscript and which, curiously, no publisher has yet taken up. Although it does not break out of its formal framework, it is a work stirred by tempestuous winds which are scarcely calmed by an Andante that seems to arise out of nowhere. The Finale is all filled with Vivaldian cascades, painting a portrait of natural cataclysm, or of the agitation of a soul struggling with the first jolts of Romanticism.A childhood memory of Giovanni Antonini who had discovered Haydn through his Symphony No. 1, this final piece at the end of this first album was broadly influenced by the style of the Mannheim school which was then flourishing in Europe. The harmonic proximity of the Symphony n° 49 in F Minor "The Passion" to the ballet-pantomime Don Juan or the Feast of Stone which Gluck had composed a few years earlier led Giovanni Antonini to include Gluck in this first volume, a dream opportunity for the conductor to show how Haydn changed the fate of the symphony by introducing a dramatic touch tinged with irony. Antonini sees in the two composers the same turn of mind and a shared use of techniques, who nevertheless bring together very different aspects of life in their music. © François Hudry/Qobuz
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Klassiek - Verschenen op 1 november 2016 | Alpha Classics

Hi-Res Booklet
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Symfonieën - Verschenen op 20 april 2015 | Alpha Classics

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Klassiek - Verschenen op 1 maart 2017 | Alpha Classics

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Klassiek - Verschenen op 1 juni 2018 | Alpha Classics

Hi-Res Booklet
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Klassiek - Verschenen op 31 januari 2014 | Sony Classical - Sony Music

Booklet
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Klassiek - Verschenen op 17 januari 2020 | Alpha Classics

Hi-Res Booklet
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Klassiek - Verschenen op 3 mei 2019 | Alpha Classics

Hi-Res Booklet
‘The senses reign, and Reason now is dead’ (Petrarch). Giovanni Antonini, flautist and founder of the legendary Italian ensemble Il Giardino Armonico, enjoys musical voyages, the discursiveness of music. He begins with an anonymous 16th century pavane, La Morte della Ragione ("The Death of Reason"), which he believes refers to In Praise of Folly, in which its author Erasmus distinguishes between two forms of madness: ‘a sweet illusion of the spirit', and a negative form, ‘one that the vengeful Furies conjure up from hell...’. This succession of ‘musical pictures’ leads us to the threshold of the baroque era, starting out with the Puzzle Canon by John Dunstable (1390- ca.1453), whose manuscript is an enigma, via the ‘bizarre’ style of Alexander Agricola (1446- ca.1506) and his obsessive, ostinato rhythm – almost an anticipation of minimalist music… to the improvisatory freedom of the Galliard Battaglia de Scheidt (1587-1654), a battle piece involving a great many diminutions or ‘divisions’, a common technique of improvisation in the Renaissance... This grand instrumental musical fresco of time and space is a kind of self-portrait of Giovanni Antonini and his longstanding musical colleagues. To accompany this recording, a richly-illustrated booklet presents a free-ranging iconographical tour combining pictures and contemporary photos. © Alpha Classics
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Klassiek - Verschenen op 1 november 2017 | Alpha Classics

Hi-Res Booklet
Haydn2032, the ambitious project of recording the complete symphonies of Haydn, has been placed from the start under the artistic direction of Giovanni Antonini, with two ensembles, Il Giardino Armonico, which made the first four volumes, and the Kammerochester Basel, to which this fifth volume and the next two are assigned. Another characteristic of the edition is that each time Haydn is set in perspective with another composer; here it is Joseph Martin Kraus (1756-92): ‘Kraus was the first man of genius that I met. Why did he have to die? It is an irreparable loss for our art. The Symphony in C minor he wrote in Vienna specially for me is a work which will be considered a masterpiece in every century’, said Haydn in 1797. Though he long remained forgotten after his death, Kraus made an active contribution to the movement of poetic renewal called ‘Sturm und Drang’ or ‘Geniezeit’ (time of genius) because such artists as the young Goethe broke free of all tradition to follow their hearts alone. When Haydn called Kraus homme de génie, in French, he probably had this context in mind. The two composers had met in Vienna in 1783. © Alpha Classics