Your basket is empty

Categories :

Albums

HI-RES€ 15,99
CD€ 11,49

Klassiek - Verschenen op 23 oktober 2020 | Paraty

Hi-Res Booklet
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
HI-RES€ 15,99
CD€ 11,49

Klassiek - Verschenen op 16 oktober 2020 | Paraty

Hi-Res Booklet
HI-RES€ 15,99
CD€ 11,49

Kamermuziek - Verschenen op 16 oktober 2020 | Paraty

Hi-Res
HI-RES€ 15,99
CD€ 11,49

Klassiek - Verschenen op 25 september 2020 | Paraty

Hi-Res Booklet
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
HI-RES€ 15,99
CD€ 11,49

Klassiek - Verschenen op 25 september 2020 | Paraty

Hi-Res Booklet
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
HI-RES€ 15,99
CD€ 11,49

Klassiek - Verschenen op 11 september 2020 | Paraty

Hi-Res Booklet
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
HI-RES€ 15,99
CD€ 11,49

Klassiek - Verschenen op 28 augustus 2020 | Paraty

Hi-Res Booklet
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