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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 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 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 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 12 maart 2021 | Paraty

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Klassiek - Verschenen op 14 juni 2019 | 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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Duo´s - Verschenen op 30 augustus 2019 | Paraty

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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 5 februari 2021 | Paraty

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Three world-class soloists gathered in Paris to celebrate the music of Ludwig van Beethoven, in the year that marks the 250th anniversary of his birth, and recorded the only two Beethoven Trios for Piano, Clarinet and Cello, his Opus 11 and Opus 38. This is the third album for Paraty label by Filipe Pinto-Ribeiro, one of the great European pianists of his generation and artistic director of the DSCH – Shostakovich Ensemble, who now appears with celebrated clarinettist Pascal Moraguès, first Solo Clarinet of Orchestre de Paris since 40 years, and acclaimed cellist Adrian Brendel, which discography includes a Beethoven monographic album with legendary pianist Alfred Brendel, his father, with a reference recording of Beethoven Sonatas for Cello and Piano. This album was recorded at La Seine Musicale, near Paris. © 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 31 januari 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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Kamermuziek - Verschenen op 16 oktober 2020 | Paraty

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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 16 oktober 2020 | Paraty

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Klassiek - Verschenen op 27 april 2018 | 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