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Klassiek - Verschenen op 20 november 2020 | Paraty

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Chopin and Franchomme’s collaboration and sincere friendship rested on a double understanding : they were linked both by a communion of feeling, so precious to the Polish exile in the Paris mondain of the time, and an artistic symbiosis that fed both on an affinity in the mastery of their instrument, and on the sharing of such basic musical values as authenticity, simplicity, elegance, and nobility of expression. Edoardo Torbianelli and Fernando Caida-Greco first played together in 2000 as a trio formation, with the violinist Amandine Beyer, within the Schola Cantorum Basiliensis. Their collaboration led to a musical dialogue based on extensive research, with a particular focus on the Romantic repertoire, revisited in the light of the aesthetic and technical knowledge acquired over 20 years of research. © 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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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 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 29 november 2019 | Paraty

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Klassiek - Verschenen op 31 mei 2019 | Paraty

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After more than 30 years of intense activity, the repertoire that our quartet has enjoyed, explored and championed is particularly vast. Several characteristics are expressed in it, and one of them is highlighted in this recording: our passion for the repertoire with voice. The truly rich histories of string quartets, of the French mélodie and of the German Lied offer parallels, but curiously, they only rarely intersected (Schoeck, Wellesz, Schoenberg, Eisler, Hindemith, Milhaud wrote for voice and the quartet, but are not among the most sought-after composers). We often approach certain cycles through transcriptions that we commission or create for ourselves (Haydn, Schumann, Dvořák, Brahms, Mahler). In response to the rich harmonic colours of Berlioz, Gabriel Fauré’s string quartet makes its presence felt through its entirely symbolist intimacy, its finely chiselled harmony, and “its thought purified up to the threshold of abstraction and evanescence”. With regard to the Summer Nights and in order to pursue our singular poetic path with Jean-Paul Fouchécourt, our dear quintet partner proposed to us the Fauréan vision of Gautier’s Lamento (Fauré kept the original title La chanson du pêcheur whereas Berlioz chose Sur les lagunes). In order to develop this long-distance dialogue between the two composers, we were tempted to compare the Clair de lune of Paul Verlaine by Fauré with that of Gautier by Berlioz. This is how Clairs de lune was born, an album more poetic – more dreamlike – than musical, a truly personal album by our quartet, an amorous programme of mélodies for voice and string quartet. © Paraty
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Klassiek - Verschenen op 5 april 2019 | Paraty

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Klassiek - Verschenen op 25 januari 2019 | Paraty

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Sacred Oratorios - Verschenen op 18 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason