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Klassiek - Verschijnt op 10 december 2021 | Paraty

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Klassiek - Verschenen op 26 november 2021 | Paraty

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Duo´s - Verschenen op 12 november 2021 | Paraty

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Klassiek - Verschenen op 29 oktober 2021 | Paraty

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Klassiek - Verschenen op 22 oktober 2021 | Paraty

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Religieuze vocale muziek - Verschenen op 15 oktober 2021 | Paraty

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Twelve sibyls, ancient psychics, became during the Middle-Ages the counterpoints of the Prophets, announcing since the beginning of time (2nd-7th centuries) the arrival of a child who will become the Savior of the World. The emergence of those characters and of these strange and mysterious texts resulted of the fascination the Renaissance resolutely showed towards Antiquity. The Sibyls were even portrayed by Michelangelo on the ceiling of the Sistine Chapel. And it is perhaps while he was in Rome as Chapel Master of St John in the Lateran that Roland de Lassus met them and drew from their figures - with names already so dreamlike and evocative of marvelous lands such as Sibylla Delphica, Persica, Erythrea, Cumana, Hellespontiaca, Libyca … – the inspiration for this collection. The Prophetiae were composed somewhere between Rome, Antwerp and Munich, within a short period of disappearance (1554-1555) of Lassus, during which no one knows with certainty what became of the composer. From the litanic undulations of the Cheruvikon preparing the Communion and turning the assembly of the faithful into the living images of the choir of the six-winged angels, to the words of Gabriel in the Acathist, carrying the embryo of life which will change the face of the World, to the hypnotic trance of the flamboyant Polyeleos, Byzantine music tells the tale of the orthodox conception of the Mystery. The figure of the “unseizable” God shows an immense humility in devotion, comprehending the mystery beyond humanity’s reach, rejecting the temptation of simplification and explanation, and therefore the grave temptation of anthropomorphizing of the divine. The strength of orthodox faith translates into an acceptance, a welcoming of the inconceivable, of what necessarily escapes Mankind, thus acknowledging human life as simple creatures on the surface of the world. The liturgy is sung, never spoken, lectured. A splendid recording mixing these these two amazing cultures, to be discovered. © Paraty
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Klassiek - Verschenen op 8 oktober 2021 | Paraty

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"As a harpist specializing in the cross-strung harp, an Iberian harp so called for having two rows of crossing strings, the recording of the album culminates a lifelong project. My teacher Nuria Llopis mentioned Diego Fernández de Huete during my first cross-strung-harp lesson in the early 90s of the last century. The first piece I prepared as a student was none other than the gaita (track 17) and, from that moment, Huete’s music accompanied me, as much in my student years as in my professional recitals, which always include works by this composer. Huete’s harp treatise represents the quintessence of the historic harp and a true reflection of seventeenth-century European instrumental music. Here we find every theoretical and technical aspect of this instrument, including ways to approach the fingering, the tempos, the instrument’s issues regarding sonic neatness, phrasing, dynamics, rules for accompaniment, etc. I consider it the baroque harpist’s bible, whose careful study offers the musician many solutions and whose rereading always yields novel answers and ideas. Huete’s work takes the instrument’s possibilities to their limit, just as much as those of its player by testing the harpist’s ability. Diego Fernández de Huete is tied to the city of Toledo and its cathedral, where, from 1681 to 1710, he served as a harpist in the music chapel. He dedicated his life to this instrument and was also an organist. The harp and the organ, two closely related instruments, share a common history since many harpists were also organists and vice versa. When Huete decided to publish his masterpiece, the Plentiful Compendium, he had plenty of experience as a harpist; over 30 years of study and professional playing granted him a great deal of authority to transmit all his knowledge and mastery." (Manuel Vilas) © Orchid Classics
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Klassiek - Verschenen op 8 oktober 2021 | Paraty

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Telemann’s Fantasias for the violin were published in 1735 in Hamburg amid a proliferation of similar works published between 1732 and 1735: 12 Fantasias for the flute, 12 for the viol, 36 for the harpsichord… Even for a composer as prolific as Telemann, 72 Fantasias in 4 years is impressive! While the flute fantasias have often been played and recorded, the violin fantasias have been overshadowed, suffering no doubt from their proximity to J.S. Bach’s Sonatas and Partitas. Some have considered them minor works, simple, regarding them with a hint of contempt… music for conservatory students. Yet their modesty is not indigence, nor their levity poverty. These short works (between 5 and 8 minutes long) are highly effective. They are so varied that it seems difficult to find the general principles of composition, as much in terms of form as of key. Diversity and freedom seem to have been Telemann’s only guides. The 12 Fantasias feature ten different keys ranging from F minor to E major, that is from 4 flats to 4 sharps: It is almost impossible to create more tonal colours over an entire cycle! © Paraty
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Duo´s - Verschenen op 9 juli 2021 | Paraty

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Klassiek - Verschenen op 25 juni 2021 | Paraty

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"This Valette is one of the most stupendous geniuses we have and his music is stupendous too". This is how the famed Sebastian de Brossard introduces his contemporary composer Joseph Valette de Montigny. Though acknowledged for its qualities, Montigny’s music has very rarely been played. Nor has it ever been recorded. Simply on account of its rarity and the absence of scores, it has remained unpublished. Thanks to this recording on which two great motets are performed, Antiphona Ensemble and its director Rolandas Muleïka are filling a vacuum. These motets are two outstanding pieces in Joseph de Montigny’s catalogue. Musicologist Benoît Michel, who died at a very young age, was the main instigator of this felicitous rediscovery: he would undoubtedly have felt enthusiastic about the release of this recording. This presentation draws to a large extent upon his work. © 2021 Paraty
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Franse chansons - Verschenen op 25 juni 2021 | Paraty

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Klassiek - Verschenen op 21 mei 2021 | Paraty

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The Chansonnier of Bayeux, a luxury manuscript for a collection of ditties. Here the pieces belong to all kinds of genres: love songs (sometimes courtly, more often bawdy), drinking songs, satires, women’s songs, others dealing with events and characters from the Hundred Years’ War (Le Roy engloys and Hellas Ollivier Vasselin). Only pious songs are not featured: even the incipit Belle tres doulce, mère Dieu surreptitiously leads to rather lewd verse. A poetical and musical contrast can be at the very heart of some songs (J’ai veu la beaulté m’amye). Some of the themes have floated through the centuries; thus the dialogue of a father and his rebellious daughter in La belle se siet, already set to music at the time of Guillaume Dufaÿ, will turn into our children’s song Ne pleure pas, Jeannette, sung to an altogether different melody. The upper classes of the late XVth century would appreciate the many sexual innuendoes and the "popular" situations referring to unhappily married women cuckolding their husbands, drunks, soldiers complaining that they have not been paid, and even a menagerie of noisy animals (a donkey in My my). No doubt the audience hugely enjoyed these stagings of country life, real or fictitious, as they did in the XIIIth century when listening to some motets and pastoral songs of trouvères. © Paraty
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Klassiek - Verschenen op 12 maart 2021 | Paraty

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Klassiek - Verschenen op 22 januari 2021 | Paraty

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There is often a sharp line perceived between the practice of improvisation and the practice of Western Art Music. One is seen as spontaneous, risk-taking and live, and the other is seen as the art of perfection, of reproduction and interpretation. Collectif Trytone believe, like Nadia Boulanger, that no sharp distinction should be made. Even though the compositional fabric of Bach’s music is arguably the pinnacle of human creativity, why should it be viewed as untouchable, sacred, like a museum artefact? © Paraty
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Klassiek - Verschenen op 16 oktober 2020 | Paraty

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From the spanish “Siglo de Oro”, writer, vihuelist and composer Luys de Milan sends us a message of freedom, originality and refinement.One wonders how, centuries later, this message can still be so alive. Milan composes his Fantaisies, his Pavanes, his Tientos to express his "faculties of musical imagination and ingenuity". Here rubato, idiomaticity and invention reign supreme; no trace of austere compositional thought or imposed playing technique… Just pure balance and fluidity. The score stimulates the freedom, virtuosity and musicality of the performer. And this music, so light and carefree, is nonetheless infused with the heritage of several centuries of musical Hispanism.
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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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Missen, passies, requiems - 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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Missen, passies, requiems - 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 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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Kwartetten - Verschenen op 31 januari 2020 | Paraty

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