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Klassiek - Verschenen op 27 april 2018 | Paraty

Hi-Res Booklet
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Duo´s - Verschenen op 11 mei 2018 | Paraty

Hi-Res Booklet
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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 14 september 2018 | Paraty

Hi-Res Booklet
HI-RES€ 15,99
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Klassiek - Verschenen op 14 september 2018 | Paraty

Hi-Res Booklet
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CD€ 11,49

Tango - Verschenen op 19 oktober 2018 | Paraty

Hi-Res Booklet
HI-RES€ 23,09
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Klassiek - Verschenen op 26 oktober 2018 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 16 november 2018 | Paraty

Hi-Res Booklet
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CD€ 11,49

Sacred Oratorios - Verschenen op 18 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 25 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 étoiles de Classica
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Klassiek - Verschenen op 25 januari 2019 | Paraty

Hi-Res Booklet
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Klassiek - Verschenen op 22 maart 2019 | Paraty

Hi-Res
Beethoven’s Sonatas for cello and piano span his entire creative life. The two Opus 5 works were composed in 1796 and dedicated to King Frederick William II of Prussia. Beethoven, a virtuoso pianist, incorporated many of the techniques of Jean-Louis Duport, one of Frederick II’s court cellists and one of the most revered musicians of his era. The Third Sonata Opus 69 dates from the composer’s “Middle Period”, and is contemporary with the 4th and 5th Symphonies and the Razumovsky String Quartets. Dedicated to Baron Ignaz von Gleichenstein, its premiere was probably given by the cellist Joseph Linke, accompanied by Carl Czerny at the piano. The score displays brilliant thematic inventiveness in a tender, lyrical vein which reveals the proximity of the Pathétique Sonata. The two Opus 102 Sonatas were composed at the beginning of Beethoven’s visionary “Late Period”, during 1815 and 1816. They were dedicated to the Countess Marie von Erdődy. These are mature works which open the doorway to Romanticism, both in their formal freedom and in their rhythmic and melodic audacity. © Paraty
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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 29 maart 2019 | Paraty

Hi-Res Booklet
Over and above the research on the role of the viola da gamba in the English vocal repertoire, the following programme also seeks to provide an experience of total immersion in the chamber music of this era, which can induce meditation and contemplation as potently as it can arouse humour and joy. Through the work of four major British composers, it presents pieces that the public has too few opportunities to hear, as well as other more famous works which are the glory of the Elizabethan repertoire. "Come Sorrow" is the melancholy title of our programme, but also and especially that of one of the most beautiful vocal pieces written by Robert Jones. © Paraty
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Klassiek - Verschenen op 5 april 2019 | Paraty

Hi-Res
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Klassiek - Verschenen op 5 april 2019 | Paraty

HI-RES€ 15,99
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Klassiek - Verschenen op 3 mei 2019 | Paraty

Hi-Res Booklet
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 31 mei 2019 | Paraty

Hi-Res Booklet
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 31 mei 2019 | Paraty

Hi-Res Booklet
The Khaldei Trio brings together Barbara Baltussen (piano), Pieter Jansen (violin) and Francis Mourey (cello), three musicians with a passion for chamber music and, more speci cally, the unique sonority of the piano trio. The Khaldei Trio has a particular a nity for Russian music from the rst half of the 20th Century, especially music by Shostakovich. The trio’s namesake, Evgueni Khaldei, was o cial photographer of the Stalin regime, and created striking portraits of all the great Russian artists of the time. The search for truth, authenticity and the nuances brought by this photographer to di cult moments throughout his life are a great source of inspiration for the trio. The Khaldei Trio likes to bring together music from times past and present in its programs, introducing the public to music by lesser-known composers as well as the great masters. © Paraty
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Klassiek - Verschenen op 14 juni 2019 | Paraty

Hi-Res Booklet