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Ab
CD38,99 Fr.

Klassik - Erschienen am 1. Januar 2006 | Deutsche Grammophon (DG)

Ab
CD21,99 Fr.

Klassik - Erschienen am 28. Februar 2008 | RCA Red Seal

Booklet
Ab
CD17,99 Fr.

Klassik - Erschienen am 3. Januar 2009 | Deutsche Grammophon (DG)

Booklet
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CD17,99 Fr.

Klassik - Erschienen am 1. Januar 2009 | Decca (UMO)

Ab
CD21,99 Fr.

Klassik - Erschienen am 23. Januar 2009 | RCA Red Seal

Ab
CD21,99 Fr.

Klassik - Erschienen am 30. April 2009 | Sony Classical

Ab
CD38,99 Fr.

Klassik - Erschienen am 1. Januar 2010 | Decca (UMO)

Ab
CD28,49 Fr.

Vokalmusik (weltlich und geistlich) - Erschienen am 1. Januar 2012 | Decca (UMO)

Ab
CD17,99 Fr.

Vokalmusik (weltlich und geistlich) - Erschienen am 1. Januar 2012 | Decca (UMO)

Ab
CD20,49 Fr.

Klassik - Erschienen am 26. März 2013 | Mercury KX

Booklet
Following his recordings on Deutsche Grammophon of music by Frédéric Chopin and Franz Liszt, Chinese pianist Yundi Li takes on the three most popular piano sonatas of Ludwig van Beethoven, the "Pathétique," "Moonlight," and "Appassionata." Known for having brilliant technique and dynamic showmanship, Yundi plays against type in these beloved works, which call for more introspection and expressiveness than might be expected from him. Even though the outer movements of "Pathétique" and "Appassionata" and the last movement of "Moonlight" give Yundi ample opportunity to demonstrate his agility, power, and high energy, they are relatively restrained, compared to the kind of virtuosic fare that made him an international star. Furthermore, the Classical impulse that informed these sonatas calls for a balance of moods, not just bravura playing. The slow movements let Yundi show he is more than just a flashy technician, and he gives carefully considered performances that work, albeit as fairly Romantic readings. Because Beethoven's piano sonatas have been interpreted and recorded by pianists too numerous to count, it's easy to dismiss performances that fall short of the great recordings of the past, especially any that seem addressed to a mainstream audience. Yundi's CD will not impress connoisseurs who have already settled on their favorite recordings, though casual listeners may like what Yundi does with the music and learn more about Beethoven as a result. © TiVo
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HI-RES28,99 Fr.
CD20,49 Fr.

Klassik - Erschienen am 26. März 2013 | Mercury KX

Hi-Res Booklet Auszeichnungen Hi-Res Audio
Following his recordings on Deutsche Grammophon of music by Frédéric Chopin and Franz Liszt, Chinese pianist Yundi Li takes on the three most popular piano sonatas of Ludwig van Beethoven, the "Pathétique," "Moonlight," and "Appassionata." Known for having brilliant technique and dynamic showmanship, Yundi plays against type in these beloved works, which call for more introspection and expressiveness than might be expected from him. Even though the outer movements of "Pathétique" and "Appassionata" and the last movement of "Moonlight" give Yundi ample opportunity to demonstrate his agility, power, and high energy, they are relatively restrained, compared to the kind of virtuosic fare that made him an international star. Furthermore, the Classical impulse that informed these sonatas calls for a balance of moods, not just bravura playing. The slow movements let Yundi show he is more than just a flashy technician, and he gives carefully considered performances that work, albeit as fairly Romantic readings. Because Beethoven's piano sonatas have been interpreted and recorded by pianists too numerous to count, it's easy to dismiss performances that fall short of the great recordings of the past, especially any that seem addressed to a mainstream audience. Yundi's CD will not impress connoisseurs who have already settled on their favorite recordings, though casual listeners may like what Yundi does with the music and learn more about Beethoven as a result. © TiVo
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HI-RES21,99 Fr.
CD15,49 Fr.

Klassik - Erschienen am 9. September 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Auszeichnungen Hi-Res Audio
This album was recorded live at London's Wigmore Hall in January 2012, and it would be interesting to know whether its release was planned ahead of time or motivated by ongoing affection for the performances. Brazilian cellist Antonio Meneses and Portuguese pianist Maria João Pires have often played as a duo, and the easy conversational quality they have achieved is fully evident here. But the beauty goes beyond the usual chamber music competences. Meneses is rightly renowned for his rich tone, which remains undamaged even in the upper reaches of the Schubert Arpeggione Sonata in A minor, a work written for a defunct six-stringed instrument somewhere between cello and guitar; it lies a bit high for the cello, but Meneses is untroubled by that. The real star of the show, though, may be Pires, who contributes some deeply mysterious Brahms Intermezzi and calibrates her role with astonishing precision in the duo works, emerging into full duet partnership in the final Brahms Cello Sonata in E minor, Op. 38. Beautiful and more, with a dark, melancholy strain unifying the whole, this is chamber music reminiscent of the golden age. Deutsche Grammophon's engineering team also deserves notice for the startling live presence, undiminished by intrusions of noise. © TiVo
Ab
CD17,99 Fr.

Klassik - Erschienen am 3. Februar 2014 | Decca Music Group Ltd.

Booklet
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HI-RES25,49 Fr.
CD17,99 Fr.

Klassik - Erschienen am 20. September 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Auszeichnungen Hi-Res Audio
Yannick Nézet-Séguin's first symphonic recording with the Rotterdam Philharmonic Orchestra on Deutsche Grammophon is of Pyotr Il'yich Tchaikovsky's Symphony No. 6 in B minor, "Pathétique," which the conductor has known intimately throughout his career. Due to his familiarity with the music, this is a solid reading that holds its own against the large number of recordings of this symphony, so listeners who need a first-rate version can be assured of the interpretation and the performance. Yet because this is one of the most frequently recorded classical pieces of all time, one may wonder what Nézet-Séguin brings to it that makes his rendition necessary. Perhaps his sense of pacing and calculated use of rubato for dramatic effect make it feel more organic than most, and his sudden shifts of tempo and emphasis on heightened dynamics make this one of the most interesting versions to follow. But in the end, there's not enough to distinguish it from the competition, so listeners should not expect a major revelation. It's still the same warhorse. To fill out the CD, Nézet-Séguin accompanies violinist Lisa Batiashvili in a selection of Tchaikovsky's Romances, Op. 6 and Op. 73, of which the most famous is None but the lonely heart (track 8). These pieces serve as a welcome palate cleanser after the rich but not overly ripe performance of the "Pathétique," and it's interesting to hear Nézet-Séguin's piano playing, which is quite restrained and poetic in feeling. Batiashvili carries the melodic lines with passionate expression and a warm singing tone, so the most compelling music making can be found in these filler tracks. © TiVo
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HI-RES28,99 Fr.
CD20,49 Fr.

Klassik - Erschienen am 15. Juli 2013 | Mercury KX

Hi-Res Booklet Auszeichnungen Hi-Res Audio
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HI-RES25,49 Fr.
CD17,99 Fr.

Klassik - Erschienen am 18. März 2013 | Archiv Produktion

Hi-Res Booklet Auszeichnungen 5 de Diapason - Hi-Res Audio
Ab
CD17,99 Fr.

Klassik - Erschienen am 15. Juli 2013 | Mercury KX

Booklet
Ab
CD17,99 Fr.

Klassik - Erschienen am 18. März 2013 | Archiv Produktion

Booklet Auszeichnungen 5 de Diapason
Ab
CD17,99 Fr.

Klassik - Erschienen am 20. September 2013 | Deutsche Grammophon (DG)

Booklet
Yannick Nézet-Séguin's first symphonic recording with the Rotterdam Philharmonic Orchestra on Deutsche Grammophon is of Pyotr Il'yich Tchaikovsky's Symphony No. 6 in B minor, "Pathétique," which the conductor has known intimately throughout his career. Due to his familiarity with the music, this is a solid reading that holds its own against the large number of recordings of this symphony, so listeners who need a first-rate version can be assured of the interpretation and the performance. Yet because this is one of the most frequently recorded classical pieces of all time, one may wonder what Nézet-Séguin brings to it that makes his rendition necessary. Perhaps his sense of pacing and calculated use of rubato for dramatic effect make it feel more organic than most, and his sudden shifts of tempo and emphasis on heightened dynamics make this one of the most interesting versions to follow. But in the end, there's not enough to distinguish it from the competition, so listeners should not expect a major revelation. It's still the same warhorse. To fill out the CD, Nézet-Séguin accompanies violinist Lisa Batiashvili in a selection of Tchaikovsky's Romances, Op. 6 and Op. 73, of which the most famous is None but the lonely heart (track 8). These pieces serve as a welcome palate cleanser after the rich but not overly ripe performance of the "Pathétique," and it's interesting to hear Nézet-Séguin's piano playing, which is quite restrained and poetic in feeling. Batiashvili carries the melodic lines with passionate expression and a warm singing tone, so the most compelling music making can be found in these filler tracks. © TiVo
Ab
CD30,99 Fr.

Klassik - Erschienen am 1. Januar 2013 | Decca (UMO)