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Klassiek - Verschenen op 2 oktober 2020 | Myrios Classics

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Symfonieën - Verschenen op 21 augustus 2020 | Myrios Classics

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The year 1841 finally marked Robert Schumann’s breakthrough as a composer for orchestra. That year, he created no less than two works: his First Symphony, also known as the “Spring Symphony”, and a piece which he initially planned as a “Symphonic Fantasy” in one move- ment, and which would later become his Symphony in D Minor.The Spring Symphony was composed in the coldest winter. Full of longing, it is a work that knows only one direction: growing, blossom- ing, the path to light and new life. The Symphony in D minor seems much more somber and intimate, “a work from the innermost depths of his soul”, as Clara Schumann noted in her diary. However, the audience could not warm up to this bold, impetuous work, and Schumann set it aside. Ten years later, after a major revision, he published it as his 4th Symphony.This album pairs the Spring Symphony with the original version of the Symphony in D minor, the version which friends such as Johannes Brahms preferred over the later edition. Schumann never heard it again in his lifetime, and it was not until 1889 that it was performed in public once more, by the Gürzenich Orchestra Cologne under the baton of Franz Wüllner.François-Xavier Roth, the Gürzenich Orchestra’s current chief conductor, also prefers the original version. With its leaner orchestration, it is certainly the more radical one, and thus requires a higher degree of commitment from the orchestra musicians in forming crescendi, melodic phrases, and extended arcs of formal development. © Myrios Classics
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Klassiek - Verschenen op 7 mei 2020 | Myrios Classics

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Klassiek - Verschenen op 14 februari 2020 | Myrios Classics

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Klassiek - Verschenen op 18 oktober 2019 | Myrios Classics

Hi-Res Onderscheidingen Diapason d'or
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Divers - Verschenen op 1 maart 2019 | Myrios Classics

Hi-Res Booklet Onderscheidingen 4F de Télérama - 5 Sterne Fono Forum Klassik
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Concerten voor cello - Verschenen op 25 oktober 2018 | Myrios Classics

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Concerten voor cello - Verschenen op 26 september 2018 | Myrios Classics

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
Two “Soviet” concertos for cello and orchestra, both written in 1966, that is the idea behind this recording of cellist Maximilian Hornung. Of course, the most famous of the two is and remains Shostakovich's Second Concerto, written for and premiered by Rostropovich. Less famous, except perhaps in Georgia, is the Georgian composer Sulkhan Tsintsadze (1925-1991), himself a renowned virtuoso cellist, who composed an impressive number of chamber music, concertos, symphonies, operas, oratorios, completely ignored by the rest of the world, what a pity. Tsintsadze, as might be thought from a "regional" Soviet composer, often borrows from the folklore of his country, but this is in no way a limitation or a specialization, no more than the way Khatchaturian would sometimes borrow from Armenia. Here is his Concerto No. 2 in five episodes, in which Tsintsadze is certainly quite indebted to Shostakovich, but also to Prokofiev undoubtedly, even to Khatchaturian here and there. The instrumental language is both brilliant and idiomatic. The contrast between his concerto and that of Shostakovich – keeping in mind that they both date from the same year – is striking. The cellist Maximilian Hornung has already performed as a soloist with the Bavarian Radio Orchestra, the Tonhalle Zurich, the London Philharmonic, the Orchestre National de France, the London Philharmonia; in short, many of the most prestigious orchestras in the world. © SM/Qobuz
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Klassiek - Verschenen op 16 februari 2018 | Myrios Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
After several albums respectively dedicated to Liszt's Transcendental Études or Mussogorsky and Schumann, or to Concertos by Tchaikovsky (the First) and Prokofiev (the Second) for the Myrios Classics label, Russian-American pianist Kirill Gerstein is diving into the colourful and rhythmical world of Gershwin. Happily, he has chosen the Jazz Band (1924) version of Rhapsody in Blue, which he has transformed into an almost-cubist work, in perfect symbiosis with the equally-keen work of David Robertson: the piano-playing is really angular, sometimes chilling; the brass recalls the most modernist work of Bartók or Prokofiev or the new American music, at the start of the 1920s. The same goes for 1925's Concerto in F, the extraordinary Earl Wild's cool playing under the direction of Arthur Fiedler (RCA, 1959) dissipates with Gerstein and Robertson, to make way for more percussive sounds. Kirill Gerstein also offers - this album being made up of recordings made in concert - various arrangements (or paraphrases) of some of the more famous American songs, including a particularly juicy I Got Rhythm from Earl Wild. A particularly stimulating album for the winter months. © 2018 Théodore Grantet/Qobuz
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Trio´s - Verschenen op 17 november 2017 | Myrios Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - 5 Sterne Fono Forum Klassik
An unusual and yet particularly clever juxtaposition can be found on this album, which consists in mirroring Schumann’s 1853 Märchenerzählungen (Tales, implicitly for children) for viola, clarinet and piano – as well as, still in the realm of fairy tales, Fantasiestücke (Fantasy Pieces) for clarinet and piano and then Märchenbilder (Fairy Tale Pictures) for viola and piano – and Jörg Widmann’s Es war einmal... Fünf Stücke im Märchenton (Once Upon a Time – Five Pieces in a Fairy Tale Tone). While being a contemporary, even a modernist artist, Widmann was indeed largely inspired by Schumann’s Märchenerzählungen, his work sprinkling with reminiscences, allusions and barely disguised quotes, superimposed to today’s language – so much that, at some point, one could be led to believe both tracks were playing at the same time, Schumann’s and Widmann’s! Ever since the first great creators, the art of “recycling”, reusing and rewriting is one of the main driving forces behind artistic creation; in fact Widmann is only following this proven model. Tabea Zimmermann on viola, Dénes Várjon on piano and on clarinet, no other than the composer himself: Widmann of course, not Schumann who, as everyone knows, doesn’t play the clarinet. © SM/Qobuz
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Piano solo - Verschenen op 24 augustus 2016 | Myrios Classics

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Piano solo - Verschenen op 24 augustus 2016 | Myrios Classics

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Liederen (Duitsland) - Verschenen op 26 februari 2016 | Myrios Classics

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Liederen (Duitsland) - Verschenen op 26 februari 2016 | Myrios Classics

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Liederen (Duitsland) - Verschenen op 24 februari 2016 | Myrios Classics

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Kwartetten - Verschenen op 9 februari 2016 | Myrios Classics

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Kwartetten - Verschenen op 4 februari 2016 | Myrios Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
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Concerten voor klavier - Verschenen op 20 oktober 2015 | Myrios Classics

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Concerten voor klavier - Verschenen op 20 oktober 2015 | Myrios Classics

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Klassiek - Verschenen op 10 juni 2014 | Myrios Classics

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