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Klassiek - Verschenen op 11 juni 2021 | Passacaille

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The Italian Renaissance is the golden age of the lute. In quality and quantity, the lute pieces from this period are comparable to the piano works of the 19th century. Most of the works selected for this recording are by Francesco da Milano, an extraordinary virtuoso and gifted composer who was also known as “Il Divino” (the Divine), an epithet he shared with Michelangelo and Monteverdi. In addition to lute pieces by da Milano, the recording also includes other equally outstanding works by contemporaries, among them some of the Milanese’s pupils. Thanks to this selection, it is easy to comprehend still today why the lute was considered the noblest instrument of all in the 16th century: Il nobilissimo istromento. © Passacaille
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Klassiek - Verschenen op 28 mei 2021 | Passacaille

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Pergolesi’s Stabat Mater was extremely popular throughout Europe soon after it was composed in 1736. Countless printed and handwritten versions of this work, which was considered the stylistic ideal of sacred music in the 18th century, can be found in libraries all over the world. There are five manuscript copies of the Stabat Mater in the archives of Málaga Cathedral. This recording presents a version performed when Juan Francés de Iribarren was chapel master there. He did not copy the work exactly, but created a revision with substantial changes. Also included in the recording are some of Iribarren’s own works. © Passacaille
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Klassiek - Verschenen op 21 mei 2021 | Passacaille

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In addition to his famous large-scale song cycles, Schubert also composed and published numerous smaller song compilations. Some of these “miniature cycles” consist of songs written at different times and under different circumstances, but which Schubert himself assembled on the basis of thematic and textual connections. The selected cycles appeared in print during Schubert’s publishing career of just eight years. Today, these songs are usually performed as individual works and taken out of context - here they are presented in the order carefully planned by the composer, just as they were heard at the famous "Schubertiades". © Passacaille
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Klassiek - Verschenen op 14 mei 2021 | Passacaille

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As the name suggests, a claviorganum is a keyboard instrument with a harpsichord and an organ section, which can be played individually or together on one or two manuals. While this instrument may seem like a curiosity today, many sources confirm that “curiosities” were rather the norm on the European continent from the 15th to the 17th century. There was a variety of different keyboard instruments at this time, but which instrument should be used for a particular work is usually not specified. Therefore, it is extremely interesting to try to establish the connection between an instrument and a particular repertoire. That is the task Il Gardellino and Bart Naessens have set themselves with this recording. Handel’s Organ Concertos, Op. 7 were written at a time when the composer was more than ever in search of the perfect instrument. While there is no evidence that Handel knew the claviorganum, it is very likely that he did. The present recording shows that the claviorganum sounds absolutely exquisite in the selected repertoire, both as a solo and as a continuo instrument. © Passacaille
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Kamermuziek - Verschenen op 14 mei 2021 | Passacaille

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In 1959, two composers wrote nonets: Nino Rota’s melodic Nonetto, on which he would continue to work for almost twenty years, and Bohuslav Martinů’s farewell chamber music piece, a Nonet, which he composed as a last piece to satisfy his longing for his homeland. Eisler did not compose his nonet in his native country either, but arrived in Mexico in 1941 as a refugee from the Nazis. There he wrote the music for John Steinbeck’s documentary film The Forgotten Village, which served as the inspiration for his Nonet No. 2. With this recording, the ensemble Oxalys presents us with the opportunity to rediscover these three nonets - three masterpieces by key protagonists of 20th century music history. © Passacaille
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Klassiek - Verschenen op 14 mei 2021 | Passacaille

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Kamermuziek - Verschenen op 26 maart 2021 | Passacaille

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Vivaldi’s Concerti ripieni are probably the most unusual works written by the Venetian composer. Some of these pieces, however, are particularly exceptional for various reasons, especially considering the artistic environment in early 18th century Venice. This recording presents Vivaldi’s most brilliant and at the same time bizarre works from this genre. These compositional experiments are sometimes quite extreme and far ahead of their time, such as the enigmatic Concerto conca, the solemn Sinfonia Al Santo Sepolcro, the avant-garde and at the same time archaic Concerto alla Rustica. This recording is the first collaboration of the Academia Montis Regalis with Enrico Onofri as principal conductor. © Passacaille
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Klassiek - Verschenen op 12 maart 2021 | Passacaille

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"Il violoncello di Corelli" leads us to the origins of the solo cello literature – although one should actually use the term violone. In fact, the cello, as we know it today in its standard form, had many different sizes before its current proportions became generally established. Some instruments were larger, and the smaller ones were referred to by the diminutive form of the term violone – hence the word violoncello. And one of these early ‘bigger brothers’ is the main protagonist of this recording: the instrument played by Alessandro Palmeri was built by Simone Cimapane in Rome in 1685. It is a rare testimony to the original size of the violone. It is furthermore a unique instrument because it was used in ensembles in Rome in which Corelli himself played. Alessandro Palmeri presents a compilation of works from the early solo literature for cello by composers such as Domenico Gabrielli, Giuseppe Pietro Gaetano Boni, Giuseppe Colombi and Giovanni Battista Vitali. The extraordinarily prolific period, both artistically and musically, which prevailed in Emilia Romagna throughout the 17th century, provided the conditions for the creation and development of the cello literature. The works on this recording mark the transition from the epoch of the violone to the epoch of the violoncello. With them, the cello was ultimately freed from the continuo role to which it had previously been limited. © Passacaille
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Klassiek - Verschenen op 26 februari 2021 | Passacaille

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Klassiek - Verschenen op 12 februari 2021 | Passacaille

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During the height of its popularity, from the mid-16th century into the 18th, the cornetto was frequently depicted in art as an instrument of angels. Paintings, sculptures, and engravings abound in which the cornetto takes a prominent place among choirs of angelic musicians, usually paired with at least one voice and with other instruments such as the organ, viol, lute, harp, violin and trombone. For this project Bruce Dickey and Hana Blažíková take the image of angel musicians as a point of departure for an aural journey ranging from 1600 to the present day. From sacred monodies and motets of the early 1600s to opera arias from the end of the century, via a brief diversion to Erik Satie, we arrive at two specially commissioned contemporary works, all the while focussing on the angelic and radiant pairing of the cornetto with the human voice. © Passacaille
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Klassiek - Verschenen op 12 februari 2021 | Passacaille

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The paths of I Solisti and Frederik Neyrinck first crossed in 2011. The ensemble immediately recognised the artistic talent of the Flemish composer and together they set up a long-term collaboration. The fruits thereof can be heard on this album, which consists exclusively of works by Neyrinck, written especially for the ensemble. This recording also marks a new chapter in their ongoing partnership, since he joined the artistic team of I Solisti as Artist in Residence, for a period of four years. With I Solisti, Neyrinck developed his affinity for wind instruments – a fascination from an early age and a common thread through his entire oeuvre. He’s always searching for refined combinations between instruments in the ensemble. This emphasis on the mixing of timbres from woodwinds and brass was also a key consideration while compiling the album and paints a heterogenous picture. In Suite "Homo Deus Frankenstein" (2020) a playful and colourful sound is heard, whereas the abstract musical material in Axe-I (2013), Gestalt I (2011), Gestalt V (2012), 1. Echo der Gestalt I (2011) and 2. Echo der Gestalt I (2011) produces strongly different results. In doing so, this album manages to capture the many facets of Neyrinck’s work. © Passacaille
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Piano solo - Verschenen op 29 januari 2021 | Passacaille

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Johannes Brahms composed only a small number of original works for piano four hands, but arranged almost all of his chamber music and orchestral works for this instrumentation. He played most of them immediately after their completion with Clara Schumann and greatly appreciated her opinion. In his Hungarian Dances Brahms brilliantly transformed original Hungarian melodies and rhythms into multi-coloured orchestral works. The Blüthner grand piano from 1867 shows how Brahms made perfect use of the entire keyboard in his writing for four hands. The various registers appear completely transparent and clear. It is not generally known that Brahms was a great admirer and friend of Johann Strauss. And he loved waltzes! Thus Brahms also created an instrumental version of his Liebeslieder-Walzer for piano four hands. Robert Schumann’s last theme, which he wrote for his so-called "Ghost Variations" immediately before being admitted to a mental hospital, is used by Brahms in his homage to Schumann, which was written immediately after his death in 1856: the Variations on a Theme by Robert Schumann, Op. 23 for piano four hands, which ends with an impressive funeral march. For the piano duo Wyneke Jordans & Leo van Doeselaar it was an obvious choice to conclude their series with recordings of four-handed piano works by great German composers on period instruments with Brahms. © Passacaille
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Klassiek - Verschenen op 22 januari 2021 | Passacaille

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In this recording, cellist Elinor Frey and Passacaille Records present the six sonatas and one concerto of one of the most noteworthy and fascinating Italian cellist-composers of the 18th century. Antonio Vandini’s works span from 1717 in Venice (just a few years before he taught at the La Pietà school alongside the legendary Vivaldi) to about the 1750s when his last sonatas were written (probably as he toured the world with his musical partner, the famous violinist, Giuseppe Tartini). Captivated by Vandini’s ability to draw out some of the finest qualities of the cello by expertly blending both lyricism and virtuosity, Elinor Frey, cellist-musicologist Marc Vanscheeuwijck, and gambist Patxi Montero together explored Vandini’s particular playing techniques. As shown in drawings, portraits, and eye-witness accounts, Vandini was one of the last remaining cellists to continue to use an underhand bow technique. Harpsichordist Federica Bianchi joined the team for the recording, held at the at the Sala della Carità, a short walk from the St-Antonio Basilica in Padua where Vandini spent most of his musical life. © Passacaille Records
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Klassiek - Verschenen op 4 december 2020 | Passacaille

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Deep remorse and the longing for divine redemption are two of the central topics in the cantatas of Northern German Baroque composers. Griet De Geyter and Il Gardellino have selected three exemplary works in this genre by Dieterich Buxtehude, Georg Philipp Telemann and Johann Sebastian Bach, giving special emphasis to the clearly led voice and striking expressivity of the young Belgian soprano. The emotional climax is Bach’s cantata with obbligato oboe Mein Herz schwimmt im Blut, BWV 199, which is based on Christ’s parable of the Pharisee and the Publican. The programme is complemented by an instrumental sonata by Buxtehude and two organ versions of the chorale Jesu, meine Freude, played by Leo van Doeselaar. © Passacaille
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Kamermuziek - Verschenen op 20 november 2020 | Passacaille

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Vienna. 1803. George Bridgetower, a violinist of Afro-European descent, causes furore with his virtuosity and captivates Beethoven, who writes a devilish and magnificent sonata for his unique and exotic character. Despite the premiere’s enormous success performed by both of them, an unfortunate comment by the violinist about one of the composer’s female friends leads to this famous sonata being finally re-dedicated to Rodolphe Kreutzer, who however would never interpret it because of its enormous difficulty. Ten years later, Beethoven composes his next and last violin sonata, dedicated to Pierre Rode, in a completely different character, enormously poetic and introverted. Written in the stage of Beethoven’s life widely associated with his “Immortal Beloved”, the sonata nevertheless retains his incomparable energy. Described as “Fiery virtuoso” (The Strad) “the Soul Violinist” (Sankei Shinbun) or “Devil’s fiddler” (Bayerischer Rundfunk), Lina Tur Bonet joins now Aurelia Visovan, the 2019 winner of the MA Competition in Bruges, to celebrate the german composer in these Sonatas. After an intense investigation, inspired among others by Clive Brown’s extensive research on the topic, a daring and innovative version is offered, combining Beethovenian’s fire, poetry and humour with the search for the authentic. © Passacaille
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Klassiek - Verschenen op 20 november 2020 | Passacaille

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Without doubt, Benjamin Britten (1913-1976) left an indelible impression on every genre of 20th century English music. However, it is his smaller scale vocal repertoire that is particularly fascinating. Featuring three of Britten’s Canticles as well as a selection of his best realizations (or “arrangements”, if you want) of Songs by Henry Purcell (1659-95), this recording represents the mature revival of English song. The Canticles presented on this recording (numbers 1-3) are masterful, morally charged pieces. They demand of the singer and pianist careful attention to how Britten uses text as the starting point for all of his works. The Purcell Realizations further illustrate the genius of Benjamin Britten. Benjamin Britten strikes the ideal balance between providing unbelievably stirring music and serving the text without overwhelming its intent. This recording demonstrates Britten’s preeminence among 20th century song composers. © Passacaille
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Klassiek - Verschenen op 13 november 2020 | Passacaille

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With this recording, violinist Mayumi Hirasaki, who has been Concerto Köln’s concertmaster since 2011, explores the chameleon-like possibilities of her instrument: when playing with scordatura, instead of the usual fifths interval between the violin strings, an alternative is used in which at least one string is tuned to a different pitch. This results in completely new sonic and harmonic possibilities, which Mayumi Hirasaki presents in works by Heinrich Ignaz Franz Biber, Biagio Marini and Giuseppe Tartini, among others - sometimes highly virtuosic, sometimes dance-like or cantabile. The colourful continuo group includes Lorenzo Ghielmi (harpsichord), Christoph Urbanetz (viola da gamba), Michael Freimuth (lute, theorbo, baroque guitar) and Johannes Loescher (violone). © Passacaille
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Kamermuziek - Verschenen op 13 november 2020 | Passacaille

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When Eugène Ysaÿe composed his cycle of 6 sonatas, Op. 27 for solo violin in June 1923, gut strings were still very common and highly appreciated - statements by contemporary violinists such as Mischa Elman, Toscha Seidel and Jacques Thibaud confirm this. However, neither the dedicatees of Eugène Ysaÿe’s solo sonatas nor other contemporaries made recordings of these works. Martin Reimann has now performed them on gut strings, and the special charm of his recording is that it gives these wonderful works a sonority that is likely to correspond to the aesthetic ideas of their time of creation. © Passacaille
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Klassiek - Verschenen op 23 oktober 2020 | Passacaille

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Dominik Wörner (bass-baritone) and the Kirchheimer DübenConsort he founded focus in this recording on twelve pieces from the famous Düben collection and document in an exemplary way the enormous versatility of this unique collection, which was only discovered by chance in the 19th century. Ten composers from Schütz (his Nunc dimittis can be heard in an arrangement by Gustav Düben) to Capricornus and Pallavicino – including two anonymous authors – span a chronological arc over 80 years of eventful European music history from 1640 to 1720. Six instrumental pieces are combined with six vocal scores to form a multi-faceted programme, most of which have been recorded here for the first time. Under the direction of Jörg-Andreas Bötticher, the ensemble, which is made up of top-class specialists from the early music scene, succeeds in producing inspiring interpretations in the then widespread consort formation of two violins, two viols, violone, theorbo, dulcian and organ. Dominik Wörner presents himself here once again in top form – a very rewarding treasure trove of repertoire, which has been successfully and extremely skilfully brought to life! © Passacaille
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Klassiek - Verschenen op 9 oktober 2020 | Passacaille

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