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Symfonische muziek - Verschenen op 1 mei 2012 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - 4 étoiles Classica - La Clef du mois RESMUSICA
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Klassiek - Verschenen op 24 juni 2016 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc de Classica - Choc Classica de l'année
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Symfonische muziek - Verschenen op 25 december 2009 | Chandos

Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année - Uitzonderlijke Geluidsopnamen
Guillaume Connesson belongs to a generation of European composers that emerged late in the twentieth century whose work can be genuinely called cosmopolitan; it is practically unimaginable that, purely on the basis of the music on this album, a listener would be able identify its composer as French. Whether or not that is necessarily a good thing is a matter of debate; historically, it has generally been possible to situate composers to some extent on the basis of their style and idiosyncracies, but given the easy availability of virtually every type of music ever recorded, it's perhaps inevitable that the cross-pollination of influences would eventually produce amalgams with so many diverse influences and characteristics that they are impossible to pin down. It would be possible to dismiss Connesson's music as derivative and eclectic if they were not composed with such skill and if it were not so attractive. The composer cites as his influences Couperin, Wagner, Richard Strauss, Debussy, Ravel, Messiaen, Dutilleux, and film composers like Bernard Herrmann and John Williams. It's the last whose work springs most immediately to mind when listening to Connesson; the bulk of the CD is devoted to his Cosmic Trilogy, and it's hard to ignore the influences of Williams' space soundtracks, even though this music is developed with considerably more sophistication and creativity. Connesson's work may ultimately sound like film music, but very, very fine film music. He is an exceptionally gifted orchestrator, and his music is wonderfully colorful and dramatically varied. The Royal Scottish National Orchestra, with whom the composer has had a long relationship, plays with polish and sparkle under Stéphane Denève, and Eric le Sage brings finesse to the piano part in The Shining One. The sound of Chandos' SACD is clean and brilliant. © TiVo
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Klassiek - Verschenen op 12 april 2019 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - La Clef RESMUSICA
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Symfonische muziek - Verschenen op 6 november 2015 | SWR Classic

Booklet Onderscheidingen Diapason d'or / Arte - Choc de Classica
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Symfonische muziek - Verschenen op 17 november 2017 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen Choc de Classica
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Symfonische muziek - Verschenen op 12 mei 2017 | SWR Classic

Booklet Onderscheidingen 4 étoiles Classica
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Sacred Oratorios - Verschenen op 28 juni 2019 | Royal Concertgebouw Orchestra

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Symfonieën - Verschenen op 1 mei 2012 | Chandos

Hi-Res Booklet
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Klassiek - Verschenen op 24 juni 2016 | Universal Music Division Decca Records France

Booklet
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Klassiek - Verschenen op 12 april 2019 | Universal Music Division Decca Records France

Booklet
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Symfonieën - Verschenen op 25 december 2009 | Chandos

Hi-Res Booklet
Guillaume Connesson belongs to a generation of European composers that emerged late in the twentieth century whose work can be genuinely called cosmopolitan; it is practically unimaginable that, purely on the basis of the music on this album, a listener would be able identify its composer as French. Whether or not that is necessarily a good thing is a matter of debate; historically, it has generally been possible to situate composers to some extent on the basis of their style and idiosyncracies, but given the easy availability of virtually every type of music ever recorded, it's perhaps inevitable that the cross-pollination of influences would eventually produce amalgams with so many diverse influences and characteristics that they are impossible to pin down. It would be possible to dismiss Connesson's music as derivative and eclectic if they were not composed with such skill and if it were not so attractive. The composer cites as his influences Couperin, Wagner, Richard Strauss, Debussy, Ravel, Messiaen, Dutilleux, and film composers like Bernard Herrmann and John Williams. It's the last whose work springs most immediately to mind when listening to Connesson; the bulk of the CD is devoted to his Cosmic Trilogy, and it's hard to ignore the influences of Williams' space soundtracks, even though this music is developed with considerably more sophistication and creativity. Connesson's work may ultimately sound like film music, but very, very fine film music. He is an exceptionally gifted orchestrator, and his music is wonderfully colorful and dramatically varied. The Royal Scottish National Orchestra, with whom the composer has had a long relationship, plays with polish and sparkle under Stéphane Denève, and Eric le Sage brings finesse to the piano part in The Shining One. The sound of Chandos' SACD is clean and brilliant. © TiVo

Klassiek - Verschenen op 1 januari 2003 | Universal Music Division Decca Records France

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Klassiek - Verschenen op 17 november 2017 | Universal Music Division Decca Records France

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