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Klassiek - Verschenen op 22 januari 2021 | Paraty

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Exploring J.S. Bach’s works with new eyes, chamber music, intuition and reinterpretation: the duo composed by Stéphanie Paulet and Elisabeth Geiger aims to shine a light on the lively and improvised elements of baroque music. Through modulations of speed and pressure on its strings, the violin brings into play its own colours, adding the presence of string instruments to the existing organ register. The unique design of Charolles’ organ (see Quentin Blumenroeder’s text) renders the blend of these sound-textures beautifully. © Paraty
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Klassiek - Verschenen op 12 maart 2021 | 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 14 juni 2019 | 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 16 oktober 2020 | Paraty

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Duo´s - Verschenen op 12 februari 2021 | Paraty

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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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Klassiek - Verschenen op 30 april 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 maart 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 13 september 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 19 februari 2021 | Paraty

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Homelands – A musical voyage into the heart of a rich polyphonic repertoire born out of the union between folklore and art music during the 19th and 20th centuries. Volume I: from Hungary to Germany. « Homelands » is planned as a pentalogy of recordings offering a panorama of choral repertoire based on folk melodies from all over Europe, as reimagined by some of the 19th and 20th centuries’ greatest composers. © 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 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 24 januari 2020 | Paraty

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Kwartetten - Verschenen op 8 juni 2018 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
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Klassiek - Verschenen op 8 januari 2021 | Paraty

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These sonatas date from the final part of Mozart’s life, when he was in his early thirties and at the height of his genius. Having recently entered into Freemasonry, Mozart, who had shaken off the paternal yoke and authority of the Prince-Archbishop of Salzburg, was living in Vienna, and it was in Vienna that he composed these two Sonatas. Mozart’s music, whether expressive or energetic, light, fierce, elegant or austere, reveals the expectations, the hopes and the dramas that characterised his life. © Paraty
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Klassiek - Verschenen op 3 mei 2019 | Paraty

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History of Iranian Piano Music. When we consider urban Iranian music of the 20th century, the piano is unquestionably one of the most culturally influential actors and symbols. The piano first appeared in Iran as a gift from Napoleon III, to the court of King Fath’Ali Shah (Qajar dynasty, 1797–1834). It was then progressively incorporated by the master court musicians of Nassereddin Shah (Qajar, 1848–1896); the process took a mere 50 years. Sheherazade : At certain moments in this collection, the music reaches the threshold of atonality, that is, writing which takes us out of the Iranian space of the music. Mashayekhi originally conceived of the work in five sections, but he ultimately composed Sheherazade in nine. He has written it in such a way that it can be performed in concert by a soloist or accompanied by an Opera libretto, linking the scenes in parallel with the reciter’s dialogue. In these sections, themes appear dressed in various colors, depending on the different encounters throughout the piece. These diverse encounters play a part in the piece’s unity, yet they also reflect the composer’s philosophical thinking about the variety of the discourse, according to the moments of dialogue with the person who is addressed. In other words, he shows us how to impress the listener through various means, so that we can enjoy a listening experience that is greater than the sum of its parts. © Paraty
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Klassiek - Verschenen op 14 september 2018 | Paraty

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