Thanks to the hard work carried out in cooperation with recording studios as well as an increasing number of music labels (Plus Loin Music, Bee Jazz, Ambronay Editions, Zig Zag Territoires, ECM, Mirare, Aeolus, Ondine, Winter & Winter, Laborie, etc.), Qobuz now offers a rapidly-growing selection of new releases and back catalogue records in 24-bit HD quality. These albums reproduce exactly the sound from the studio recording, and offer a more comfortable listening experience that exceeds the sound quality of a CD (typically \"reduced\" for mastering at 44.1kHz/16-bit). \"Qobuz HD\" files are DRM-free and are 100% compatible with both Mac and PC. Moving away from the MP3-focused approach that has evolved over recent years at the expense of sound quality, Qobuz provides the sound calibre expected by all music lovers, allowing them to enjoy both the convenience and quality of online music.

Opmerking 24-bit HD albums sold by Qobuz are created by our labels directly. They are not re-encoded using SACD and we guarantee their direct source. In order to continue on this path, we prohibit any tampering with the product.

26512 albums gesorteerd op Date: from newest to oldest en gefilterd op Klassiek
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Klassiek - Verschenen op 20 mei 2018 | Decca (UMO) (Classics)

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Klassiek - Verschenen op 19 mei 2018 | Decca (UMO) (Classics)

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Klassiek - Verschenen op 18 mei 2018 | ADA MÜZİK

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Klassiek - Verschenen op 18 mei 2018 | Delphian

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Klassiek - Verschenen op 18 mei 2018 | Signum Records

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Ralph Vaughan Williams wasn't the only great artist to have served as an ambulance man on the front lines during the First World War: Ravel, Roussel, Cocteau, Gertrude Stein, Hemingway, Jerome K. Jerome, Somerset Maugham and many others volunteered for this sinister role. It left Vaughan Williams with painful memories, and contributed more than a little towards his term to more spiritual music, although he remained a firm and unbending atheist for the rest of his life, as Bertrand Russell recalled, to whom Williams said around 1920: "There is no reason why an atheist could not write a good Mass" And in fact, this Mass of 1921, for double a capella choir and soloists, is full of splendour, especially when given by the Choir of St John's College Cambridge, led by their director Andrew Nethsingha. The ensemble complements the programme with a Te Deum from 1928 for choir and organ or orchestra (an organ is used here), one of Vaughan Williams's works in which tonality is deliberately muted in favour of a very personal form of modality in the old style – but which is also very modern. In this same harmonic spirit O vos omnes of 1922 is an immensely beautiful response for Holy Week, impalpable and unreal, in the same harmonic vein as the Fantasia on a Theme by Thomas Tallis. The album closes with handful of isolated choral pieces, including the famous and joyful Clap Your Hands from the 1920s. © SM/Qobuz
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Klassiek - Verschenen op 18 mei 2018 | Odradek Records

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Klassiek - Verschenen op 18 mei 2018 | Warner Classics

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This is the first-ever recording of this particular version of Orfeo ed Euridice by Gluck: the one he wrote for the Royal Theatre of Naples, for the 1774 Carnival. That said, it is based in part on the first, Viennese, version, dated 1762 (in which Orpheus was sung by an alto castrato), but also on the 1769 revision for Parma, where the role of Orpheus was given to a male soprano. The notes, the tonalities, the instrumentation, the tempos and the number of dynamics underwent substantial modifications in the version for the Neapolitan Carnival: the work is at once perfectly recognisable, and yet different from its normal form; and some completely new numbers are added, of which the first is quite possibly the work of dilettante aristocrat Diego Naselli, and maybe the second, too. The orchestration has also undergone many modifications, surely to do with local constraints and availabilities. The Neapolitan success of 1774 was such that in November of the same year, the famous Teatro San Carlo took on the work – again in a new version, with not three but eight characters and several apocryphal numbers from Johann Christian Bach and other contemporary stars, which stretched the work out to three acts, whereas the present version only has one, split into six scenes. Orpheus is sung by Philippe Jaroussky, Eurydice by Amanda Forsythe, Amore by Emöke Baráth, while Diego Fasolis gives a spirited lead to the ensemble I Barocchisti and the Coro della Radio Svizzera (The Swiss Radio Choir). Lovers of Gluck will be delighted to discover yet another of the many possible facets of a work which has seen countless revisions and wanderings. © SM/Qobuz
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Klassiek - Verschenen op 18 mei 2018 | Driftless Recordings

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Elektronische muziek of Musique Concrète - Verschenen op 18 mei 2018 | The Helen Scarsdale Agency

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€ 1,39
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Klassiek - Verschenen op 18 mei 2018 | Berlin Classics

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€ 17,99
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Klassiek - Verschenen op 18 mei 2018 | Neue Meister

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Klassiek - Verschenen op 18 mei 2018 | Ava

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Klassiek - Verschenen op 18 mei 2018 | Signum Records

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Klassiek - Verschenen op 18 mei 2018 | Claves Records

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Kamermuziek - Verschenen op 18 mei 2018 | Urlicht

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€ 16,79
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Klassiek - Verschenen op 18 mei 2018 | harmonia mundi

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Clocking in at a full hour, the Octet in F Major is one of the longest works in the chamber music repertoire. Ravaged by disease, Schubert took as his starting point, as expressly stipulated in the commission he received from the Steward of the Archduke Rodolphe, Beethoven's Septet in E-flat major Op. 20, whose fame greatly chagrined its writer. In Schubert's Octet there is a certain joie de vivre cut across, as ever with him, by occasional notes of desperation (the call of the horn in the first movement, the elegiac turns of the Adagio). In order to meet his patron's very precise specifications, he used the same instrumentation, with the addition of a second violin, and he took on the same order of movements and the same tonal pattern as the Beethovian model. But while Schubert poured his work into this mould so as to please his client, he wrote a very personal work which, by his own account, would lead him towards the great symphonic form which would appear rather later with his Symphony No. 9 in C major. Isabelle Faust and friends make you laugh and cry, moving in perfect unison from one emotion to another, never hesitating to lay this sublime music bare, without any recourse to affected vibrato or excessive expression. A performance that brings us close to the fragility of existence. © François Hudry/Qobuz
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Klassiek - Verschenen op 18 mei 2018 | harmonia mundi

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A joyful Trinity. Graham Ross concludes his exploration of music for the liturgical calendar with a programme focusing on the Holy Trinity, as reflected in music of the Russian and British traditions. From the works of the New Russian Choral School led by Tchaikovsky to more modern pieces such as those of Britten, with excursions into the Renaissance and contemporary creation, Graham Ross skilfully brings out the multiple correspondences between the choral traditions that have become established over the centuries around the mystery of the Trinity. © harmonia mundi
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Klassiek - Verschenen op 18 mei 2018 | Queen Elisabeth Competition

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Klassiek - Verschenen op 18 mei 2018 | ATMA Classique

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Klassiek - Verschenen op 18 mei 2018 | Jube Classic

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