Categories :

Albums

HI-RES€ 16,49
CD€ 10,99

Concertmuziek - Verschijnt op 4 september 2020 | Alpha

Hi-Res Booklet
HI-RES€ 16,49
CD€ 10,99

Klassiek - Verschijnt op 4 september 2020 | Alpha

Hi-Res Booklet
HI-RES€ 16,49
CD€ 10,99

Symfonische muziek - Verschijnt op 4 september 2020 | Alpha

Hi-Res Booklet
HI-RES€ 16,49
CD€ 10,99

Concertmuziek - Verschijnt op 28 augustus 2020 | Alpha

Hi-Res Booklet
HI-RES€ 16,49
CD€ 10,99

Klassiek - Verschijnt op 28 augustus 2020 | Alpha

Hi-Res Booklet
HI-RES€ 23,99
CD€ 15,99

Opera - Verschijnt op 21 augustus 2020 | Alpha

Hi-Res Booklet
HI-RES€ 16,49
CD€ 10,99

Klassiek - Verschenen op 10 juli 2020 | Alpha

Hi-Res Booklet
Sarah Willis is a tireless ambassador for her instrument, the French horn, which she champions around the world. A horn player with the famous Berlin Philharmonic Orchestra since 2001, she launched what was soon to become a famous TV programme, ‘Sarah’s Music’, for Deutsche Welle in 2014, interviewing personalities ranging from Gustavo Dudamel to Wynton Marsalis. The award-winning programme presents music with warmth and in all its diversity. Sarah’s other passion was born when she arrived in Cuba to give a horn masterclass. The music and the musicians she met there had a huge impact on her. Since then she has returned regularly and founded the Havana Horns, an ensemble of Cuban horn players who were featured in a ‘Sarah’s Music’ episode. With ‘Mozart y Mambo', Sarah has created an album combining the music of one of the most famous classical music composers, W. A. Mozart and traditional Cuban music. "Mozart would have been a good Cuban", she was told in Havana, and this is what inspired her to create this project. With the Havana Lyceum Orchestra and its exuberant conductor José Antonio Méndez Padrón, she presents works for French horn and orchestra by W. A. Mozart (the Concerto No. 3, K. 447 and the Concert Rondo, K. 371) alongside a Rondo alla Mambo (inspired by the Concerto No. 3, K. 447), a Sarahnade Mambo, a Cuban ‘Eine Kleine Nachtmusik’, and other treats. A number of well-known local musicians take part in this recording, which also pays tribute to Cuban repertoire with two songs including Dos Gardenias, made famous by Ibrahim Ferrer and the Buena Vista Social Club. © Alpha Classics
HI-RES€ 23,99
CD€ 15,99

Kamermuziek - Verschenen op 10 juli 2020 | Alpha

Hi-Res Booklet
Daishin Kashimoto, Emmanuel Pahud, Paul Meyer, Zvi Plesser and Éric Le Sage, who have been close musical partners for years, joined forces once again at the Salon de Provence Chamber Music Festival to record this programme devoted to Viennese composers of the early twentieth century. The most famous and innovative of these are represented: Schoenberg with his Kammersymphonie no.1, Mahler with two lieder transcribed for flute and piano, Zemlinsky’s Clarinet Trio and several pieces by Berg. A programme that encapsulates both the exhaustion of a bygone Romantic age and the avant-garde promises of a modern world still to be built. © Alpha Classics
HI-RES€ 16,49
CD€ 10,99

Klassiek - Verschenen op 26 juni 2020 | Alpha

Hi-Res Booklet
Anna Prohaska asked Wolfgang Katschner and the Lautten Compagney at the outset of the coronavirus crisis whether they shouldn’t spontaneously organize a musical get-together in this period. This has now resulted in "Redemption". This is a sequence of music selected solely from Bach cantatas, compiled in keeping with the aforenamed conceptual association. "Redemption" has multiple meanings, for instance: can music give us consolation in times of sickness and crisis; can it open up emotional and contemplative spaces for us; is it redemptive for musicians to be the “instruments” in engendering music and therefore spirituality… ? Besides Anna Prohaska as soloist and three other singers, "Redemption" features a larger group of musicians – around twenty instrumentalists. These musicians serve a dual role: they expertly accompany the arias that Anna Prohaska sings and they also represent the concept of human interaction and a shared collective experience which has been missing during these times. © Alpha Classics
HI-RES€ 1,99
CD€ 1,29

Klassiek - Verschenen op 26 juni 2020 | Alpha

Hi-Res
HI-RES€ 16,49
CD€ 10,99

Klassiek - Verschenen op 19 juni 2020 | Alpha

Hi-Res Booklet
The Franco-American cellist Sonia Wieder-Atherton has always sought to make music a language open to the world. A prizewinner in the Rostropovich Competition at the age of twenty-five, she is the interpreter of choice for many contemporary composers, among them Pascal Dusapin and Wolfgang Rihm, while the voice of her cello also encounters the voices of actresses such as Fanny Ardant and Charlotte Rampling, as well as the film director Chantal Akerman. Sonia Wieder-Atherton has now signed an editorial partnership with Alpha Classics which starts out with a recording of Bach’s Cello Suites, inaugurated by the Suites Nos. 1 and 2 presented here. This volume and the two others that will follow (Suites 3 to 6) feature photos by the great Sarah Moon: "For me, playing Bach's Suites is always at some point or another seeing the image of Giacometti's hands tirelessly moulding clay until a face appears. (. . .) To get to grips with the Bach Suites is an experience very close to that. It’s a question of digging into the string until the phrase is born, as well as the right way to breathe it. (...) And then came the encounter with Sarah Moon. When my desire to record the Bach Suites was born I dreamt of her images. Because, when I look at them, I imagine the creation of the world, the separation of the waters, the appearance of the earth, before history begins". (Sonia Wieder-Atherton) © Alpha Classics
HI-RES€ 31,49
CD€ 20,99

Klassiek - Verschenen op 5 juni 2020 | Alpha

Hi-Res Booklet
A leading authority on the fortepiano, Jos Van Immerseel has devised a programme focusing on the music Beethoven composed for a Viennese piano with a range of five octaves. This includes the finest keyboard music from Beethoven’s early Viennese period, more specifically works written between 1795 and 1804. For this recording, the Flemish pianist has used the composer’s extant autograph manuscripts or the first editions published shortly after composition, as well as the latest critical edition by Jonathan Del Mar (Kassel: Bärenreiter-Verlag, 2017-18). The writings of Carl Czerny, one of Beethoven’s most important ‘pupils’, were also a significant source of information. With his customary attention to the instrumentarium, Jos Van Immerseel has opted for a five-octave Viennese grand fortepiano by Christopher Clarke, a masterly replica, built in 1988, of an instrument by Walter, whom Beethoven himself selected in 1802 from among the sixty or so Viennese piano makers of the time. © Alpha Classics
HI-RES€ 23,99
CD€ 15,99

Kamermuziek - Verschenen op 24 april 2020 | Alpha

Hi-Res Booklet
Beethoven’s output for fortepiano and violoncello is fascinating because it covers every period of his career, from early to late, with references to Bach in Op. 69 and Op. 102 No. 2 and an especially innovative and amazingly modern musical language. For this complete set, which includes the Variations on a theme from Handel’s "Judas Maccabaeus" and the Variations on a theme from Mozart’s "Die Zauberflöte", Nicolas Altstaedt was keen to record on an instrument with gut strings, a Guadagnini from Piacenza dated 1749, and using a Classical bow. Alexander Lonquich, his faithful recital partner – they been inseparable companions since the day Altstaedt replaced his teacher Boris Pergamenschikow for a concert of Beethoven sonatas with Lonquich at the Beethovenfest in Bonn in 2004 – here plays a Graf fortepiano of 1826. The combination of these instruments produces a finely balanced sound and exceptional tone colours. This recording is Nicolas Altstaedt’s first for Alpha as a soloist. Others will follow, in very different genres, for eclecticism is the hallmark of this musician, among the most promising of the new generation. © Alpha Classics
HI-RES€ 16,49
CD€ 10,99

Symfonische muziek - Verschenen op 24 april 2020 | Alpha

Hi-Res Booklet
Is the imitation of rolling thunder, howling winds and bleating sheep a form of musical composition worthy of the name? Can we take seriously a composer who boasts of being able to ‘set a restaurant menu to music, if need be’? These were the kinds of questions that Richard Strauss, one of the most virtuosic composers of the so-called ‘programme music’, had to ask himself. His answer: ‘I am a musician from head to toe; for me, all “programmes” are merely incentives to invent new forms, nothing else.’ The NDR Orchestra, conducted by Krzysztof Urbański, has chosen to devote its sixth Alpha Classics recording to three of Richard Strauss’s most famous symphonic poems: Also sprach Zarathustra Op. 30, Till Eulenspiegels lustige Streiche Op. 28 and Don Juan Op. 20. © Alpha Classics
HI-RES€ 16,49
CD€ 10,99

Concertmuziek - Verschenen op 17 april 2020 | Alpha

Hi-Res Booklet
Beethoven’s Piano Concertos are a precious source for understanding the history of the practice of this instrument, which, in the early nineteenth century, permanently replaced the harpsichord in the hearts of composers. Thus one can still hear the galant influence of Mozart in the First Concerto (1795-1800), whereas the Fourth (1805-06) reveals the introspective personality, at once vigorous and generous, of a Beethoven at the height of his artistic maturity. In the second instalment of his recording of the complete concertos, the German pianist Martin Helmchen performs these two contrasting works with Andrew Manze and the Deutsches Symphonie-Orchester Berlin. © Alpha Classics
HI-RES€ 16,49
CD€ 10,99

Kamermuziek - Verschenen op 17 april 2020 | Alpha

Hi-Res Booklet
HI-RES€ 16,49
CD€ 10,99

Vocale muziek (wereldlijk en religieus) - Verschenen op 10 april 2020 | Alpha

Hi-Res Booklet
The gestation of this project lasted two years. Anna Prohaska and Julius Drake finally concentrated their research on the themes of Eve, Paradise and banishment. Some songs were obvious choices, such as Fauré’s Paradis, in which God appears to Eve and asks her to name each flower and animal, or Purcell’s Sleep, Adam, sleep with its references to Genesis. But Anna Prohaska also wished to illustrate the cliché of the woman who brought original sin into the world and her status as a tempter who leads man astray, as in Brahms’s Salamander, Wolf’s Die Bekehrte or Ravel’s Air du Feu. In Das Paradies und die Peri, Schumann conjures up the image of Syria’s rose-covered plains. Bernstein also transports us to the desert with Silhouette.. John Milton’s seventeenth-century masterpiece Paradise Lost was the inspiration for Charles Ives and Benjamin Britten, also featured in this very rich programme that constitutes an invitation to travel and reflection. © Alpha Classics
HI-RES€ 16,49
CD€ 10,99

Symfonische muziek - Verschenen op 10 april 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
Some music lovers are familiar with Ce qu’on entend sur la montagne, Liszt’s symphonic poem based on Victor Hugo. But who knows that, ten years earlier, César Franck was inspired by the same poem? This early piece is recorded here by the Orchestre Philharmonique de Radio France conducted by Mikko Franck. They couple it with the famous Symphony in D minor, dedicated to Henri Duparc and premiered, without much success, in 1889. Even if the score is quite well-known today, in the end it is performed quite rarely, which is a pity, because it really has all the characteristics of a masterpiece: melodic and harmonic inspiration, refined orchestration, variety of mood, an ingenious structure. Two works by Franck ... by Franck! This album marks the beginning of a collaboration between Alpha and the Orchestre Philharmonique de Radio France, which will focus on very varied repertories. © Alpha Classics
HI-RES€ 16,49
CD€ 10,99

Concertmuziek - Verschenen op 3 april 2020 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
As the symbiosis between the art of the poet and that of the composer, the French mélodie became the jewel of the salons of the ‘Belle Époque’. By placing a string quartet and a piano around the singer, Chausson’s Chanson perpétuelle, Lekeu’s Nocturne and Fauré’s La Bonne Chanson oscillate between chamber musical intimacy and orchestral ambition. Alongside these famous pioneering pieces, this programme devised by the Palazzetto Bru Zane champions a return to the art of transcription, so popular in the nineteenth century, with the aim of expanding the repertory for voice, strings and piano in order to unearth some forgotten treasures. Hence Hahn, Berlioz, Saint-Saëns, Massenet, La Tombelle, Ropartz, Louiguy and Messager all appear in a programme whose guiding thread is the emotions of nocturnal abandonment: the charms of twilight, the trajectory of dreams, the terror of nightmare or the exhilaration of festive occasions. Alexandre Dratwicki has made these arrangements in the style of the nineteenth century. Appropriately enough, the programme ends with La Vie en rose, for this music offers a kaleidoscope of all the colours of human feeling. The texture of solo strings and piano sets Véronique Gens’s incomparable storytelling artistry in a new ligh. © Alpha Classics
HI-RES€ 16,49
CD€ 10,99

Klassiek - Verschenen op 3 april 2020 | Alpha

Hi-Res Booklet
Between 1680 and 1728, Marin Marais brought the 'pièce de viole' to the peak of perfection. An ‘unremitting’ teacher, he was also the publisher of his own music and invented special signs to notate certain ornaments for the viol. In the course of his research at the Salzburg Mozarteum, the Italian gambist Vittorio Ghielmi studied these manuscript codes, in the hand of Marais himself or his direct students. ‘This led me to a new vision of French Baroque music, which applies not only to the viola da gamba, but also to vocal and orchestral music. These signs reveal the technique of playing in action. Contrary to the static descriptions of the treatises of the time, one has the impression of seeing didactic “videos”’. This album, entirely devoted to the music of Marais, alternates récits for solo viola with orchestral pieces, all of them reinterpreted in the light of the new discovery of Monsieur Marais’s ‘codes’. In addition to Parisian viols of the time, Vittorio Ghielmi owns an instrument by the famous luthier Michel Colichon (a friend of Marais’s teacher Sainte-Colombe), made in Paris in 1688. Only two of the five surviving viols by Colichon are still in playable condition. © Alpha Classics

De collecties