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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 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 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 29 november 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 26 oktober 2018 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Sacred Oratorios - Verschenen op 18 januari 2019 | Paraty

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 14 juni 2019 | 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 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 30 april 2020 | 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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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 27 april 2018 | Paraty

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

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Tango - Verschenen op 19 oktober 2018 | Paraty

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Klassiek - Verschenen op 5 april 2019 | Paraty

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Klassiek - Verschenen op 31 januari 2020 | Paraty