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Klassiek - Verschijnt op 23 oktober 2020 | Paraty

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The life and career of Frederic Chopin, whom Claude Debussy described as a “man of generous ideas,” have elicited many writings, and have been the source of many legends, excessive tales, and caricatures. Chopin’s genius, expressed in many different manners, reveals the complex personality of a secretive musician who kept to himself but was also driven by an all-encompassing passion. “Externally I am joyful,” Chopin would confide, “but internally I am consumed. (...) The pleasure of living, and immediately thereafter a desire for death”. In articles dedicated to Chopin in La France Musicale starting in February 1851, less than two years after the composer’s death, Liszt would speak to that effect: “Even tempered and jovial, he seldom let on to the secret convulsions that racked him”. Aside from exceptional virtuosity, Chopin’s music – which does not stem from any literary source – evokes in turn feelings of passion or enthusiasm, emotion or melancholy, perhaps owing to his estrangement from his native Poland, which he left in 1830 never to return. In the words of his friend Henri Heine, “his real homeland was the enchanted kingdom of fantasy”. Chopin dedicated the quasi-totality of his efforts to the piano, an instrument to which he gave a new voice, because he did not wish to dissipate his inspiration in the “hubbub” of the orchestra. He preferred concentrating on the delicate tonality of the keyboard instrument, with which he thoroughly identified. According to George Sand, “his creation was spontaneous, miraculous. He found it without looking for it, with no planning. It would come to his piano suddenly, complete and sublime. (...) He never needed expansive means to express his genius”. Pianist George Mathias, a former student of Chopin’s, would say that his piano only ever existed under his fingers. It is no surprise that composer Charles Koelchin considered Chopin to be one the most authentic creators of modern music. Aimo Pagin performs here the 19 Waltzes of the composer. © Paraty
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Klassiek - Verschenen op 16 oktober 2020 | Paraty

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Klassiek - Verschenen op 16 oktober 2020 | Paraty

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Klassiek - Verschenen op 25 september 2020 | Paraty

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The solo pieces by Monsieur de Sainte-Colombe presented here were written around 1690 and are part of a manuscript included in the archives of the municipal library in Tournus, Burgundy. Hence its name: the ‘Tournus Manuscript’. The first modern edition of the manuscript was published in 2013 by Edition Güntersberg, prepared by Herausgegeben von Günter and Leonore von Zadow. Until then, only a facsimile edition by Minkoff had been published, one which is long since out of print. Ronald Martin Alonso came across the pieces quite by accident while searching through the music shops that populate the Rue de Rome in Paris. He was straight away fascinated by the richness and wildness of the writing which struck me as more akin to improvisations rich with fantasy. The freedom of the writing leaves ample liberty to the performer to construct the rhetoric and development of each phrase, to decide on the appropriate rhythmic proportions for each dance, to choose the tempo at which the notes should be played and to consider which moments to accentuate and stress. Today, a few composers take inspiration from Sainte-Colombe’s heritage to give new life to the viola da gamba. The French composer Philippe Hersant, born in Rome in 1948, has written a number of pieces for solo viola da gamba, including Le chemin de Jérusalem as well as using the viola da gamba as a solo instrument with vocal ensemble in Psalm 130, "Aus Tiefer Not" (1994), Stabat Mater (2002), Falling Star (2005), Clair Obscur or in combination with other baroque instruments (lutes, theorbo, cornett, baroque violins), such as the Cantique des trois enfants dans la fournaise for which he was consecrated composer of the year for the third time in the annual French classical music awards in 2016. In this recording Ronald Martin Alonso has chosen to pair two composers, both of whose work is of profound importance to him, in a dialogue that transports us into their respective fantasy universes. They cohabit, influence and exchange with each other in such a way that the notion of time disappears entirely. This selection invites us into a journey where music dialogues wordlessly and where the sound of the viole and the emotions it elicits combine to narrate a story, to awaken intense emotions and send us from one extreme of emotion to another, from profound sadness to ecstatic joy. The viola da gamba: an instrument that has come back to life and which like a mirror reflects the past into the present. © Paraty
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Klassiek - Verschenen op 25 september 2020 | Paraty

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The present album - the first recording made on the historic organ Almeida e Silva of Diamantina (1787), state of Minas Gerais, Brazil - consists of the complete organ works published by Domenico Zipoli (Prato, Italy, 1688 - Córdoba, Argentina, 1726) in his Sonate d’Involatura per organo e cimbalo (Rome, 1716), besides some works attributed to the composer from the manuscript Sones mo organo (1746), a miscellany of keyboard works from the Jesuit mission of San Rafael de Velasco, Bolivia. The Chiquitos’ works selected for the present recording were very likely disseminated by priest Martin Schmid. Even if not effectively composed by Zipoli, they do reveal a clear stylistic influence of the composer who passed away in the Córdoba missions, where Schmid was in 1729 before leading to the Chiquitanía. The repertoire presented in this album follows a historically informed approach seeking a commitment between the performance traditions from Italy and Spain of the first half of the 18th century, using for this purpose an 18th century sound source of autochthone Brazilian construction, of which the aesthetical characteristics led to a conscious performance of a Zipoli with a pronounced Ibero-American accent. © Paraty
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Klassiek - Verschenen op 11 september 2020 | Paraty

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We knew that Titelouze, long considered the founder of the French organ school of the organ, had also left behind vocal music, which was presumed lost. The recent discovery, by Laurent Guillo, of four polyphonic masses composed by Titelouze was a special event, which today allows us to appreciate his contrapuntal genius in all of its diversity. As the only 17th century polyphonic masses from Rouen that have survived, they constitute a precious link in the knowledge of the musical life of the rich Norman capital and its Notre-Dame cathedral, whose organ was played by Titelouze for nearly a half century, from 1588 to 1633. © Paraty
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Klassiek - Verschenen op 28 augustus 2020 | Paraty

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Designed as a lyrical recital from Schubert to the 21st century, this programme celebrates voice, poetry, and the piano in a unique genre, piano transcription. This stems from years of cooperation with the lyrical sphere, where musical and human experiences considerably influenced Zoubritski's way of playing and of apprehending music. Pieces might be short, yet the extreme polyphonic and harmonic density together with a particularly virtuoso style captivate player and audience all along. The challenge is huge; hearing and giving to hear – with ten fingers – a melodic line, its accompaniment, even possibly letting people guess the text within the interpretation. After Schumann, Siloti, and Reger, this is the challenge the pianist wished to take up to add to this recording melodies she very much likes and which were missing from the repertoire, Francis Poulenc’s Les Chemins de l’amour and Sergei Rachmaninoff’s The Dream Op. 38 No. 5. © Paraty
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Klassiek - Verschenen op 29 mei 2020 | Paraty

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Amour toujours! The beautiful rhyme contains its share of promises and disillusions. That’s what the latest album by Brigitte Lesne and her ensemble Alla Francesca tells us. A singer and leader of ensembles such as Discantus and Alla Francesca, Brigitte Lesne has dedicated her life to medieval music and has become one of the best specialists. She also performs in a variety of recitals, accompanying herself on various instruments, medieval harps and percussion instruments. We find a long string of sacred and secular songs here in a mixture that may surprise us today but which people in the Middle Ages were particularly fond of. The same theme, for example that of the "Armed Man", can go through these troubled times by taking on different words or even be included in the ordinary of a Mass. This musical and poetic journey oscillates between monody and polyphony at a time when Western classical music was gradually taking shape. It was an intellectual way of playing based on Latin or vernacular texts that would go on to permeate the musical forms of this distant era: songs, rondeaux, motets and narrative texts. It is also the opening on the infinite variations of the Map of Tendre and its loving universe. © François Hudry/Qobuz
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Klassiek - Verschenen op 29 mei 2020 | Paraty

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The life of Nicholas Ludford (ca. 1490-1557), also styled Nycolace Ludfoorthe, is no mystery today. This son of a musician from the Fraternity of St Nicholas was destined from a young age to a distinguished career in music. Unlike other musicians of his time, who set off to develop their curriculum vitae in distant lands, our composer made his way within the very restricted confines of Westminster, the political and ecclesiastical centre of London and of England during the Renaissance. While Nicholas Ludford benefits today from renewed interest, notably thanks to the works and recordings of David Skinner, some of his works are yet to be discovered. Less exuberant than the Masses Lapidaverunt Stephanum or Benedicta, the Lady Masses, dedicated to the Virgin and designed to be sung in the small chapels of great ecclesiastical institutions, are attractive in their singularity. Among the eleven extant complete masses by Nicholas Ludford the unusual musico-liturgical interest of the seven masses contained in British Museum MSS Roy. App. 45-48 has singled them out for especial attention. For instance, they comprise the only complete system of daily votive "Masses of the Virgin" remaining in English music; they include Alleluias and Sequences of which English music has all too few in polyphonic settings; they are based on "cantus firmi" of quite remarkable interest belonging to a special repertory which has come to be known as “squares”; and they are of a type known as alternatim in which sections for a soloist alternate in performance with sections of three-part polyphony. The implications of the last two features combine to make the matter of performance something of a problem, for it is the curious character of the “squares” as soloist’s material which first raises doubts as to their intended mode of presentation, whether they were to be sung, or played on the organ either monophonically as they stand or as cantus firmi for improvisation. © Paraty
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Duo´s - Verschenen op 15 mei 2020 | Paraty

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This first recording by the Duo Aurore is an eclectic selection of Brazilian and Argentinian repertoire from the 20th and 21st centuries. The title of the album, "Iguaçu", is a reference to the magnificent Iguazu Falls located on the border between the two countries and listed as a Unesco World Heritage site. Often inspired by popular music, the repertoire is rich in harmonic and rhythmic variations. Famous works such as Libertango by Astor Piazzolla or O trenzinho do caipira by Villa-Lobos are presented alongside more recent pieces such as Nação nº 2, by the eminent Brazilian composer and pianist Hércules Gomes. © Paraty
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Klassiek - Verschenen op 30 april 2020 | Paraty

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Klassiek - Verschenen op 10 april 2020 | Paraty

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Klassiek - Verschenen op 6 maart 2020 | Paraty

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Architectural and contrapuntal, Bach’s mathematical and organic poetry will have been able to travel highly through time, inspire all sorts of currents and instrumentations. In his Suites for solo cello, whereas he was a violist and organist, already a famous improviser and composer, in a period of his life when the liturgical circumstances of his employment did not give rise to purely instrumental commissions, it can be assumed that the simple pleasure, the personal freedom, the challenge of imagining, for a monodic instrument, a polyphonic music where the missing parts are recreated by the listener, or else the curiosity of exploring the possibilities of the cello are as many reasons which have been able to make him compose them. A music that flows like a stream, with the natural bouncing of a ball and the geometrical magic of a fractal nature, a music which, with Casals just started to kindle my passion for this art. Furthermore, in these versions, I have chosen to follow Anna Magdalena’s so personal manuscript as scrupulously as possible, by way of searching the naked spurting of one source, whatever it is, unadorned, for it to be beyond everything – six suites of dances for six unique universes, so much for their characters as for their tonalities, just like six parts complementing one another with a same unfathomable spirit of variety. I think that genius must sometimes have exhilarated Bach in his search of the source – Bach, that man who suffered in silence, who lived through regular tragedies with the deaths in his family, the toughness of his relentless work causing his blindness, and that hope maintained by the adulation of the Eternal and the doubts which go with it. The greatest possible freedom in the constraint of his language is an unlimited pursuit with multiple and timeless savours which keep filling me with wonder, as if becoming a look tended to replace the fact of being in action, by the simple and pure strength of the musical text: it is all there. (Maitane Sebastián) © Paraty
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Klassiek - Verschenen op 6 maart 2020 | Paraty

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Cage Meets Satie If there is one composer that John Cage admired throughout his career, it is Erik Satie. He was instrumental in promoting the music of the French composer in the United States. The first event he organized took place during the summer session of Black Mountain College (North Carolina) in 1948: twenty‐five concerts were dedicated to Satie’s music. Places varied: he sometimes chose the grand piano in the dining room and on other occasions, the upright piano in his bungalow whose open windows allowed the public sitting on the grass to listen to the music. The highlight of this festival was the performance on August 14, 1948 of the lyric comedy Le Piège de Méduse (1913). The composer often preceded the concerts with a short lecture, one of the most significant entitled “Defense of Satie”. During his stay in Paris in 1949, Cage continued his research on Satie’s music by studying his manuscripts, some of which Darius Milhaud had deposited at the Paris Conservatory in 1939. He was delighted to attend a private concert with Suzanne Tézenas during which the Swiss tenor Hugues Cuénod sang Socrate and likewise to meet Jean Mollet who knew the French composer. In the capital, he also visited Henri Sauguet in June 1949, who offered him two manuscripts of furniture music for small ensembles; it was in this context that he discovered the manuscript of Vexations for solo piano (1892‐1893). To his great regret, having promised it to critic Claude Rostand, Sauguet could not give it to him. However, Cage was allowed to take a picture of it which he published in Contrepoints n° 6 in 1949. In September 1963, he organized the first performance of this work at the Pocket Theatre in New York. For eighteen hours and forty minutes, ten pianists (including the composer) took turns playing every twenty minutes, with no interruption. Throughout his life, Cage remained faithful to Satie, expressing his attachment in these terms: “Perhaps I can be blamed for my devotion to Satie. But I can never give it up… If my ideas get confused, I owe this confusion to love”. © Paraty
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Klassiek - Verschenen op 31 januari 2020 | Paraty

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Klassiek - Verschenen op 31 januari 2020 | Paraty

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Klassiek - Verschenen op 24 januari 2020 | Paraty

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Klassiek - Verschenen op 29 november 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 29 november 2019 | Paraty

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Klassiek - Verschenen op 29 november 2019 | Paraty

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